Translated using Weblate (Norwegian Bokmål)

[text-madewithcc.git] / po / nb / mwcc.po

# MADE WITH CREATIVE COMMONS
# Copyright (C) 2017 by Creative Commons.
# This file is published under a Creative Commons Attribution-ShareAlike license (CC BY-SA), version 4.0
# Authors: Paul Stacey and Sarah Hinchliff Pearson
#
msgid ""
msgstr ""
"Project-Id-Version: Made with Creative Commons\n"
"POT-Creation-Date: 2018-03-06 11:32+0000\n"
"PO-Revision-Date: 2018-03-08 16:14+0000\n"
"Last-Translator: Ingrid Yrvin <ingrid.yrvin@gmail.com>\n"
"Language-Team: Norwegian Bokmål "
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#. type: Attribute 'lang' of: <book>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3
msgid "en"
msgstr "nb"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7
#: MadewithCreativeCommonsmostup-to-dateversion.xml:56
msgid ""
"This book is published under a CC BY-SA license, which means that you can "
"copy, redistribute, remix, transform, and build upon the content for any "
"purpose, even commercially, as long as you give appropriate credit, provide "
"a link to the license, and indicate if changes were made. If you remix, "
"transform, or build upon the material, you must distribute your "
"contributions under the same license as the original. License details: "
"<ulink url=\"http://creativecommons.org/licenses/by-sa/4.0/\"/>"
msgstr ""
"Denne boken er utgitt under en CC BY-SA lisens, noe som betyr at du kan "
"kopiere, distribuere videre, remikse, transformere og bygge videre for ulike "
"formål, også kommersielt, så lenge du gir riktig kreditering, gir en link "
"til lisensen og angir om endringer er gjort. Hvis du remikser, transformerer "
"eller bygger på materialet, må du distribuere dine bidrag under samme lisens "
"som den opprinnelige. Lisensdetaljer: <ulink url=\"http://creativecommons."
"org/licenses/by-sa/4.0/\"/>"

#. type: Content of: <book><bookinfo><publisher><address>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:24
#, no-wrap
msgid ""
"        <city>Mexico City</city>\n"
"      "
msgstr ""
"        <city>Oslo</city>\n"
"      "

#. type: Content of: <book><bookinfo>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:17
msgid ""
"<copyright> <year>2017</year> <holder>Creative Commons</holder> </copyright> "
"<publisher> <publishername>Gunnar Wolf</publishername> <placeholder type="
"\"address\" id=\"0\"/> </publisher>"
msgstr ""
"<copyright><year>2017</year> <holder>Creative Commons</holder></copyright> "
"<publisher> <publishername>Petter Reinholdtsen</publishername> <placeholder "
"type=\"address\" id=\"0\"/> </publisher>"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:27
#: MadewithCreativeCommonsmostup-to-dateversion.xml:41
msgid "Made with Creative Commons"
msgstr "Laget med Creative Commons"

#. type: Content of: <book><bookinfo><authorgroup><author><firstname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:30
msgid "Paul"
msgstr "Paul"

#. type: Content of: <book><bookinfo><authorgroup><author><surname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:31
msgid "Stacey"
msgstr "Stacey"

#. type: Content of: <book><bookinfo><authorgroup><author><firstname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:34
msgid "Sarah Hinchliff"
msgstr "Sarah Hinchliff"

#. type: Content of: <book><bookinfo><authorgroup><author><surname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:35
msgid "Pearson"
msgstr "Pearson"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:42
msgid "by Paul Stacey &amp; Sarah Hinchliff Pearson"
msgstr "av Paul Stacey &amp; Sarah Hinchliff Pearson"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:43
msgid "© 2017 by the Creative Commons Foundation."
msgstr "© 2017 av Creative Commons-stiftelsen."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:44
msgid ""
"Published under a Creative Commons Attribution-ShareAlike license (CC BY-"
"SA), version 4.0."
msgstr ""
"Publisert med lisensen Creative Commons Attribution-ShareAlike (CC BY-SA), "
"versjon 4.0."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:46
msgid ""
"ISBN: YET-TO-BE-DECIDED (PDF), YET-TO-BE-DECIDED (ePub), YET-TO-BE-DECIDED "
"(Paperback)"
msgstr ""
"ISBN: 978-82-TO-BE-DECIDED (PDF), 978-82-TO-BE-DECIDED (ePub), 978-82-TO-BE-"
"DECIDED (myk perm)"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:48
msgid ""
"Illustrations by Bryan Mathers, <ulink url=\"https://bryanmmathers.com/\"/>."
msgstr ""
"Illustrasjoner av Bryan Mathers, <ulink url=\"https://bryanmmathers.com/\"/>."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:50
msgid "Publisher: Gunnar Wolf."
msgstr "Utgiver: Petter Reinholdtsen."

#. space for information about translators
#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:52
msgid " "
msgstr ""
" Oversatt til bokmål av Ole-Erik Yrvin, Ingrid Yrvin, Allan Nordhøy, Thomas "
"Gramstad og Petter Reinholdtsen. "

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:54
msgid "Downloadable e-book available at <ulink url=\"https://madewith.cc/\"/>."
msgstr ""
"Nedlastbar e-bok er tilgjengelig fra <ulink url=\"https://madewith.cc/\"/>."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:63
msgid ""
"Made With Creative Commons is published with the kind support of Creative "
"Commons and backers of our crowdfunding-campaign on the Kickstarter.com "
"platform."
msgstr ""
"Laget med Creative Commons er offentliggjort med godhjertet støtte fra "
"Creative Commons og bidragsytere fra vår folkefinansieringskampanje på "
"Kickstarter.com-plattformen."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:66
msgid ""
"This edition of the book is maintained on <ulink url=\"https://gitlab.com/"
"gunnarwolf/madewithcc-es/\"/>, and the translations are maintained on <ulink "
"url=\"https://hosted.weblate.org/projects/madewithcc/\"/>.  If you find any "
"error in the book, please let us know via gitlab."
msgstr ""
"Denne utgaven av boken vedlikeholdes på <ulink url=\""
"https://gitlab.com/gunnarwolf/madewithcc-es/\"/>, og oversettelsene "
"vedlikeholdes på <ulink url=\"https://hosted.weblate.org/projects/madewithcc/"
"\"/>.  Hvis du finner noen feil i boken, så setter vi pris på om du gir oss "
"beskjed via gitlab."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:72
msgid "Classifications:"
msgstr "Klassifiseringer:"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:75
msgid "(Dewey) 346.048, 347.78"
msgstr "(Dewey) 346.048, 347.78"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:78
#, fuzzy
msgid "(UDK) ?"
msgstr "(UDK) ?"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:81
msgid "(US Library of Congress) Z286 O63 S73 2017"
msgstr "(US Library of Congress) Z286 O63 S73 2017"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:84
msgid "(Melvil) 025.523"
msgstr "(Melvil) 025.523"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:87
#, fuzzy
msgid "(ACM CRCS) ?"
msgstr "(ACM CRCS) ?"

#. type: Content of: <book><dedication><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:94
msgid ""
"“I don’t know a whole lot about nonfiction journalism. . . The way that I "
"think about these things, and in terms of what I can do is.  . . essays like "
"this are occasions to watch somebody reasonably bright but also reasonably "
"average pay far closer attention and think at far more length about all "
"sorts of different stuff than most of us have a chance to in our daily "
"lives.”"
msgstr ""
"«Jeg vet ikke mye om faglitteratur . . . Måten jeg tenker på disse tingene, "
"og hva jeg kan gjøre er . . . essays som dette er anledninger til å følge "
"noen med et rimelig lyst hode, men også rimelige gjennomsnittlige både "
"følger nærmere og tenker mer i dybden om mange  forskjellige ting enn de "
"fleste av oss har en sjanse til i våre daglige liv.»"

#. type: Content of: <book><dedication><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:102
msgid "— <emphasis>David Foster Wallace</emphasis>"
msgstr "— <emphasis>David Foster Wallace</emphasis>"

#. type: Content of: <book><preface><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:107
msgid "Foreword"
msgstr "Forord"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:109
msgid ""
"Three years ago, just after I was hired as CEO of Creative Commons, I met "
"with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of "
"CC’s most well-known proponents—one who has also had a successful career as "
"a writer who shares his work using CC—I told him I thought CC had a role in "
"defining and advancing open business models. He kindly disagreed, and called "
"the pursuit of viable business models through CC “a red herring.”"
msgstr ""
"For tre år siden, like etter at jeg ble ansatt som daglig leder av Creative "
"Commons, møtte jeg Cory Doctorow i en hotellbar på Gladstone Hotell i "
"Toronto.  Som en av CCs mest velkjente forkjempere - en som har hatt en "
"suksessfull karrière som en skribent som deler alle sine verk som CC - "
"fortalte jeg ham at jeg mente CC hadde en rolle i å definere og fremme åpne "
"forretningsmodeller.  Han forklarte på en hyggelig måte at han var uenig, og "
"kalte jakten på fungerende forretningsmodeller via CC en blindvei."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:118
msgid ""
"He was, in a way, completely correct—those who make things with Creative "
"Commons have ulterior motives, as Paul Stacey explains in this book: "
"“Regardless of legal status, they all have a social mission. Their primary "
"reason for being is to make the world a better place, not to profit. Money "
"is a means to a social end, not the end itself.”"
msgstr ""
"Han hadde på en måte helt rett - de som gjør ting med Creative Commons har "
"underliggende motiver, som Paul Stacey forklarer i denne boken: «Uavhengig "
"av juridisk status, har de alle en sosial oppgave. Deres primære grunn til å "
"være til er å gjøre verden til et bedre sted, ikke for fortjeneste. Penger "
"er et middel til et sosialt mål, ikke målet selv. »"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:126
msgid ""
"In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s "
"words from his book Information Doesn’t Want to Be Free: “Entering the arts "
"because you want to get rich is like buying lottery tickets because you want "
"to get rich. It might work, but it almost certainly won’t. Though, of "
"course, someone always wins the lottery.”"
msgstr ""
"I enkeltstudien om Cory Doctorow siterer Sarah Hinchliff Pearson Corys ord "
"fra hans bok om «Information Doesn’t Want to Be Free»: «Å gå inn i kunsten "
"fordi du vil bli rik, er som å kjøpe lottobilletter fordi du vil bli rik. "
"Det kan fungere, men nesten helt sikkert så vil det ikke det. Men, "
"selvfølgelig, noen vinner alltid i et lotteri.»"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:134
msgid ""
"Today, copyright is like a lottery ticket—everyone has one, and almost "
"nobody wins. What they don’t tell you is that if you choose to share your "
"work, the returns can be significant and long-lasting.  This book is filled "
"with stories of those who take much greater risks than the two dollars we "
"pay for a lottery ticket, and instead reap the rewards that come from "
"pursuing their passions and living their values."
msgstr ""
"I dag er opphavsrett som et lodd i et lotteri - alle har et, og nesten ingen "
"vinner. Det de ikke forteller deg, er at hvis du velger å dele ditt arbeid, "
"kan det du får igjen være betydelig, og vare lenge. Denne boken er fylt med "
"historier om dem som tar mye større risiko enn de kronene vi betaler for et "
"lodd, og i stedet høster belønninger fra det å følge sin lidenskap og bygge "
"på sine verdier."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:143
msgid ""
"So it’s not about the money. Also: it is. Finding the means to continue to "
"create and share often requires some amount of income.  Max Temkin of Cards "
"Against Humanity says it best in their case study: “We don’t make jokes and "
"games to make money—we make money so we can make more jokes and games.”"
msgstr ""
"Så det er ikke om pengene. Men er også om det. Å finne midler til å "
"fortsette å opprette og dele krever ofte en viss inntekt. Max Temkin i Cards "
"Against Humanity sier det best i sin eksempelstudie: «Vi lager ikke vitser "
"og spill for å tjene penger - vi tjener penger slik at vi kan lage flere "
"vitser og spill.»"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:150
msgid ""
"Creative Commons’ focus is on building a vibrant, usable commons, powered by "
"collaboration and gratitude. Enabling communities of collaboration is at the "
"heart of our strategy. With that in mind, Creative Commons began this book "
"project. Led by Paul and Sarah, the project set out to define and advance "
"the best open business models.  Paul and Sarah were the ideal authors to "
"write Made with Creative Commons."
msgstr ""
"Creative Commons fokuserer på å bygge levende, nyttige allmenninger, drevet "
"av samarbeid og takknemlighet. Å få til samarbeidsfelleskap (communities) er "
"kjernen i vår strategi. Med det i mente startet Creative Commons dette "
"bokprosjektet. Ledet av Paul og Sarah, gikk prosjektet i gang med å definere "
"og fremme de beste åpne forretningsmodellene.  Paul og Sarah var ideelle "
"forfatterne skrive Made with Creative Commons: Laget med kreative "
"allmenninger."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:159
msgid ""
"Paul dreams of a future where new models of creativity and innovation "
"overpower the inequality and scarcity that today define the worst parts of "
"capitalism. He is driven by the power of human connections between "
"communities of creators. He takes a longer view than most, and it’s made him "
"a better educator, an insightful researcher, and also a skilled gardener. He "
"has a calm, cool voice that conveys a passion that inspires his colleagues "
"and community."
msgstr ""
"Paul drømmer om en fremtid der nye modeller for kreativitet og innovasjon "
"overgår den ulikhet og knapphet som i dag viser de verste delene av "
"kapitalismen. Han drives av kraften i mellommenneskelige forbindelser i "
"skapende samarbeidsfellesskap. Han ser lengre enn de fleste, og det har "
"gjort ham til en bedre pedagog, en innsiktsfull forsker, og også en dyktig "
"gartner. Han har en rolig, kul stemme som formidler en lidenskap som "
"inspirerer kolleger og samfunn."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:168
msgid ""
"Sarah is the best kind of lawyer—a true advocate who believes in the good of "
"people, and the power of collective acts to change the world. Over the past "
"year I’ve seen Sarah struggle with the heartbreak that comes from investing "
"so much into a political campaign that didn’t end as she’d hoped. Today, "
"she’s more determined than ever to live with her values right out on her "
"sleeve. I can always count on Sarah to push Creative Commons to focus on our "
"impact—to make the main thing the main thing. She’s practical, detail-"
"oriented, and clever. There’s no one on my team that I enjoy debating more."
msgstr ""
"Sarah er en meget solid advokat - en sann forkjemper som tror på det gode i "
"mennesker, og på kraften i kollektive handlinger for å forandre verden. I "
"løpet av det siste året har jeg sett Sarah kjempe med den hjertesorg som "
"kommer fra å ha investert så mye i en politisk kampanje som ikke sluttet som "
"hun hadde håpet. I dag er hun mer bestemt enn noen gang på å leve med sine "
"verdier rett fra hjertet. Jeg kan alltid stole på at Sarah skyver på for at "
"Creative Commmons skal påvirke  - gjøre det viktigste viktigst. Hun er "
"praktisk, detaljorientert og dyktig. Det er ingen på mitt laget jeg liker "
"mer å debattere med."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:180
msgid ""
"As coauthors, Paul and Sarah complement each other perfectly. They "
"researched, analyzed, argued, and worked as a team, sometimes together and "
"sometimes independently. They dove into the research and writing with "
"passion and curiosity, and a deep respect for what goes into building the "
"commons and sharing with the world. They remained open to new ideas, "
"including the possibility that their initial theories would need refinement "
"or might be completely wrong.  That’s courageous, and it has made for a "
"better book that is insightful, honest, and useful."
msgstr ""
"Som medforfattere, utfylte Paul og Sarah hverandre perfekt. De forsket, "
"analyserte, hevdet og jobbet som et lag, noen ganger sammen og noen ganger "
"hver for seg. De grov seg ned i forskningen og skrivingen med lidenskap og "
"nysgjerrighet, og en dyp respekt for hva som inngår i å lage allmenninger og "
"å dele med verden. De var åpne for nye ideer, medregnet muligheten for at "
"utgangsteoriene deres måtte utvikles videre eller kanskje var helt feil. Det "
"er modig, og det har gitt en bedre bok som er mer innsiktsfull, ærlig og "
"nyttig."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:191
msgid ""
"From the beginning, CC wanted to develop this project with the principles "
"and values of open collaboration. The book was funded, developed, "
"researched, and written in the open. It is being shared openly under a CC BY-"
"SA license for anyone to use, remix, or adapt with attribution. It is, in "
"itself, an example of an open business model."
msgstr ""
"Fra begynnelsen ønsket CC å utvikle dette prosjektet med prinsipper og "
"verdier fra åpent samarbeid. Boken ble finansiert, utviklet, undersøkt og "
"skrevet åpent. Det blir delt åpent under en CC BY-SA-lisens slik at alle kan "
"bruke, remikse eller tilpasse med henvisning på plass. Det er i seg selv et "
"eksempel på en åpen forretningsmodell."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:199
msgid ""
"For 31 days in August of 2015, Sarah took point to organize and execute a "
"Kickstarter campaign to generate the core funding for the book. The "
"remainder was provided by CC’s generous donors and supporters. In the end, "
"it became one of the most successful book projects on Kickstarter, smashing "
"through two stretch goals and engaging over 1,600 donors—the majority of "
"them new supporters of Creative Commons."
msgstr ""
"I 31 dager i august 2015 organiserte Sarah en Kickstarter-kampanje for å  "
"finansiere oppstarten av boken. Resten ble finansiert av Create Commons "
"sjenerøse givere og støttespillere. Til slutt ble den en av de mest "
"vellykkede bokprosjektene på Kickstarter, med 1600 engasjerte givere i to "
"strekk helt til mål. De fleste giverne var nye tilhengere av Creative "
"Commons."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:208
msgid ""
"Paul and Sarah worked openly throughout the project, publishing the plans, "
"drafts, case studies, and analysis, early and often, and they engaged "
"communities all over the world to help write this book. As their opinions "
"diverged and their interests came into focus, they divided their voices and "
"decided to keep them separate in the final product. Working in this way "
"requires both humility and self-confidence, and without question it has made "
"Made with Creative Commons a better project."
msgstr ""
"Paul og Sarah jobbet åpent gjennom hele prosjektet, publiserte planene, "
"utkast, casestudier og analyser, tidlig og sent, og de engasjerte miljøer "
"over hele verden til å skrive denne boken. Ettersom meninger varierte, og "
"interessene kom i fokus,  laget de ulike løp, og besluttet å holde dem "
"atskilt i sluttproduktet.  Å arbeide på denne måten krever både ydmykhet og "
"selvtillit, og det har uten tvil gjort «Made with Creative Commons» til et "
"bedre prosjekt."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:218
msgid ""
"Those who work and share in the commons are not typical creators.  They are "
"part of something greater than themselves, and what they offer us all is a "
"profound gift. What they receive in return is gratitude and a community."
msgstr ""
"De som jobber og deler i allmenningen (commons) er ikke typiske skapere. De "
"er en del av noe større enn seg selv, og hva de tilbyr oss alle er en raus "
"gave. Hva de får tilbake er takknemlighet og et fellesskap."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:224
msgid ""
"Jonathan Mann, who is profiled in this book, writes a song a day.  When I "
"reached out to ask him to write a song for our Kickstarter (and to offer "
"himself up as a Kickstarter benefit), he agreed immediately. Why would he "
"agree to do that? Because the commons has collaboration at its core, and "
"community as a key value, and because the CC licenses have helped so many to "
"share in the ways that they choose with a global audience."
msgstr ""
"Jonathan Mann, som er løftet frem i denne boken, skriver en dag en sang. Da "
"jeg tok kontakt for å be ham om å skrive en sang for vår Kickstarter (og å "
"tilby seg å støtte Kickstarter), stilte han umiddelbart opp. Hvorfor ville "
"han stille opp på det? Fordi allmenningen har samarbeid som sin kjerne, og "
"allmenning er en nøkkelverdi, og fordi CC-lisensene har hjulpet så mange å "
"dele med et globalt publikum på den måten de velger."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:233
msgid ""
"Sarah writes, “Endeavors that are Made with Creative Commons thrive when "
"community is built around what they do. This may mean a community "
"collaborating together to create something new, or it may simply be a "
"collection of like-minded people who get to know each other and rally around "
"common interests or beliefs. To a certain extent, simply being Made with "
"Creative Commons automatically brings with it some element of community, by "
"helping connect you to like-minded others who recognize and are drawn to the "
"values symbolized by using CC.” Amanda Palmer, the other musician profiled "
"in the book, would surely add this from her case study: “There is no more "
"satisfying end goal than having someone tell you that what you do is "
"genuinely of value to them.”"
msgstr ""
"Sarah skriver, «Innsats som lages med Made with Creative Commons trives når "
"allmenningen bygges rundt hva som gjøres. Dette kan bety at et fellesskap "
"samarbeider for å skape noe nytt, eller kan rett og slett være en samling av "
"likesinnede som blir kjent hverandre og samler seg rundt felles interesser "
"eller tro. Til en viss grad, å bare bruke Made with Creative Commons bringer "
"automatisk med seg elementer av allmenningen, ved å hjelpe til med å koble "
"deg til likesinnede, som gjenkjenner og trekkes til de verdiene som "
"symboliseres ved å bruke CC.» Amanda Palmer, den andre musikeren som er "
"profilert i boken, vil sikkert legge til dette fra sin studie: «Det er ikke "
"noe mer tilfredsstillende mål enn når noen forteller deg at det du gjør "
"virkelig verdi for dem.»"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:247
msgid ""
"This is not a typical business book. For those looking for a recipe or a "
"roadmap, you might be disappointed. But for those looking to pursue a social "
"end, to build something great through collaboration, or to join a powerful "
"and growing global community, they’re sure to be satisfied. Made with "
"Creative Commons offers a world-changing set of clearly articulated values "
"and principles, some essential tools for exploring your own business "
"opportunities, and two dozen doses of pure inspiration."
msgstr ""
"Dette er ikke en typisk bedriftsøkonomibok. For de som leter etter en "
"oppskrift eller et veikart, kan du bli skuffet. Men for de som ønsker å "
"bidra til et sosialt mål, å bygge noe stort gjennom samarbeid, eller bli med "
"i en kraftig og voksende globalt samfunn, kan de være sikre på å bli "
"fornøyd.  Made with Creative Commons tilbyr en global endring med et sett "
"med tydelig artikulerte verdier og prinsipper, noen viktige verktøy til å "
"utforske dine egne forretningsmuligheter, og to dusin doser med ren "
"inspirasjon."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:257
msgid ""
"In a 1996 Stanford Law Review article “The Zones of Cyberspace”, CC founder "
"Lawrence Lessig wrote, “Cyberspace is a place. People live there. They "
"experience all the sorts of things that they experience in real space, "
"there. For some, they experience more. They experience this not as isolated "
"individuals, playing some high tech computer game; they experience it in "
"groups, in communities, among strangers, among people they come to know, and "
"sometimes like.”"
msgstr ""
"I 1996-artikkelen i Stanford Law Review «Sonene i kyberrom», skrev CC-"
"grunnlegger Lawrence Lessig: «Kyberrommet et sted. Folk bor der. Der "
"opplever de alle mulige ting, og de oppleves i reelle rom . Og noen, de "
"opplever mer. Dette opplever de ikke som isolerte individer, som spillere av "
"noe høyteknologiske dataspill; De opplever det i grupper, i fellesskap, "
"blant fremmede, blant dem de lærer å kjenne, og noen ganger like.»"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:266
msgid ""
"I’m incredibly proud that Creative Commons is able to publish this book for "
"the many communities that we have come to know and like.  I’m grateful to "
"Paul and Sarah for their creativity and insights, and to the global "
"communities that have helped us bring it to you.  As CC board member "
"Johnathan Nightingale often says, “It’s all made of people.”"
msgstr ""
"Jeg er utrolig stolt at Creative Commons er i stand å utgi denne boken for "
"så mange allmenninger som vi har lært å kjenne og liker. Jeg er takknemlig "
"overfor Paul og Sarah for deres kreativitet og innsikt, og de globale "
"samfunn som har hjulpet oss å bringe den til deg. Som CC-styremedlem "
"Johnathan Nightingale ofte sier: «Alt er laget av mennesker.»"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:274
msgid "That’s the true value of things that are Made with Creative Commons."
msgstr "Det er den sanne verdien av ting som er laget med Creative Commons."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:277
msgid "<emphasis>Ryan Merkley</emphasis>"
msgstr "<emphasis>Ryan Merkley</emphasis>"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:280
msgid "<emphasis>CEO, Creative Commons</emphasis>"
msgstr "<emphasis>Daglig leder, Creative Commons</emphasis>"

#. type: Content of: <book><preface><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:284
msgid "Introduction"
msgstr "Introduksjon"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:286
msgid ""
"This book shows the world how sharing can be good for business—but with a "
"twist."
msgstr ""
"Denne boken viser verden hvordan deling kan være bra i forretningsøyemed, "
"men med en vri."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:290
msgid ""
"We began the project intending to explore how creators, organizations, and "
"businesses make money to sustain what they do when they share their work "
"using Creative Commons licenses. Our goal was not to identify a formula for "
"business models that use Creative Commons but instead gather fresh ideas and "
"dynamic examples that spark new, innovative models and help others follow "
"suit by building on what already works. At the onset, we framed our "
"investigation in familiar business terms. We created a blank “open business "
"model canvas,” an interactive online tool that would help people design and "
"analyze their business model."
msgstr ""
"Vi startet prosjektet å utforske hvordan skapere, organisasjoner og "
"bedrifter tjener penger på å videreføre hva de gjør når de deler arbeidet "
"sitt med Creative Commons-lisenser. Målet var ikke å identifisere en formel "
"for forretningsmodeller som bruker Creative Commons, men i stedet samle "
"friske ideer og dynamiske eksempler som tenner nye, innovative modeller, og "
"hjelper andre å følge etter ved å bygge på det som allerede virker. I "
"starten rammet vi inn våre undersøkelser i kjente forretningsbegreper. Vi "
"laget et ubeskrevet «åpent forretningsmodell-lerret,» et interaktivt "
"nettbasert verktøy som hjelper folk å skape og analysere sin "
"forretningsmodell."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:302
msgid ""
"Through the generous funding of Kickstarter backers, we set about this "
"project first by identifying and selecting a diverse group of creators, "
"organizations, and businesses who use Creative Commons in an integral way—"
"what we call being Made with Creative Commons. We interviewed them and wrote "
"up their stories. We analyzed what we heard and dug deep into the literature."
msgstr ""
"Med raus finansiering fra Kickstarters støttespillere, satte vi i gang dette "
"prosjektet, først ved å identifisere og velge ut en bred gruppe av skapere, "
"organisasjoner og bedrifter som bruker Creative Commons på en integrert måte "
"- det vi kaller «Gjort på Creative Commons-vis». Vi intervjuet dem og skrev "
"ned deres historier. Vi analyserte hva vi hørte, og gravde dypt i "
"litteraturen."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:310
msgid ""
"But as we did our research, something interesting happened. Our initial way "
"of framing the work did not match the stories we were hearing."
msgstr ""
"Mens vi gjorde våre undersøkelser, skjedde det noe interessant. Vår første "
"måte å ramme inn arbeidet på, samsvarte ikke med de historiene vi hørte."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:315
msgid ""
"Those we interviewed were not typical businesses selling to consumers and "
"seeking to maximize profits and the bottom line.  Instead, they were sharing "
"to make the world a better place, creating relationships and community "
"around the works being shared, and generating revenue not for unlimited "
"growth but to sustain the operation."
msgstr ""
"De vi intervjuet var ikke typiske bedrifter som selger til forbrukerne og "
"søker å maksimere overskudd og bunnlinje. I stedet delte de for å gjøre "
"verden til et bedre sted, ved å skape relasjoner og samfunn rundt arbeidene "
"som ble delt, og genererte inntekter, ikke for ubegrenset vekst, men for å "
"opprettholde driften."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:323
msgid ""
"They often didn’t like hearing what they do described as an open business "
"model. Their endeavor was something more than that.  Something different. "
"Something that generates not just economic value but social and cultural "
"value. Something that involves human connection. Being Made with Creative "
"Commons is not “business as usual.”"
msgstr ""
"Ofte likte de ikke å høre det de gjorde beskrevet som en åpen "
"forretningsmodell. Det de holdt på med var mer enn det. Noe annet. Noe som "
"ikke bare gir økonomisk verdi, men også sosial og kulturell verdi.  Noe som "
"involverer mellommenneskelige forbindelser.  Å skape med Creative Commons er "
"ikke «slik vi vanligvis gjør det»."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:331
msgid ""
"We had to rethink the way we conceived of this project. And it didn’t happen "
"overnight. From the fall of 2015 through 2016, we documented our thoughts in "
"blog posts on Medium and with regular updates to our Kickstarter backers. We "
"shared drafts of case studies and analysis with our Kickstarter cocreators, "
"who provided invaluable edits, feedback, and advice. Our thinking changed "
"dramatically over the course of a year and a half."
msgstr ""
"Vi måtte revurdere måten vi oppfattet dette prosjektet på. Og det skjedde "
"ikke over natten. Fra høsten av 2015 og hele 2016 dokumenterte vi våre "
"tanker i blogginnlegg på Medium og med regelmessige oppdateringer til våre "
"Kickstarter-støttespillere. Vi delte utkast av enkeltstudier og analyse med "
"våre Kickstarter-samarbeidspartnere, som ga uvurderlige endringer, "
"tilbakemeldinger og råd. Vår tenkning endret seg dramatisk i løpet av "
"halvannet år."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:340
msgid ""
"Throughout the process, the two of us have often had very different ways of "
"understanding and describing what we were learning. Learning from each other "
"has been one of the great joys of this work, and, we hope, something that "
"has made the final product much richer than it ever could have been if "
"either of us undertook this project alone.  We have preserved our voices "
"throughout, and you’ll be able to sense our different but complementary "
"approaches as you read through our different sections."
msgstr ""
"Gjennom hele prosessen, har vi to ofte hatt svært ulike måter å forstå og "
"beskrive hva vi lærer. Gjensidig læring har vært en av de store gledene i "
"dette arbeidet, og vi håper; noe som har gjort det endelige produktet mye "
"mer innholdsrikt enn det ville vært hvis én av oss gjennomførte dette "
"prosjektet alene. Våre stemmer er tatt vare på underveis, og du vil kunne "
"finne våre ulike, men utfyllende, tilnærminger når du henholdsvis leser "
"gjennom våre ulike seksjoner."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:350
msgid ""
"While we recommend that you read the book from start to finish, each section "
"reads more or less independently. The book is structured into two main parts."
msgstr ""
"Mens vi anbefaler at du leser boken fra start til slutt, kan hver del leses "
"mer eller mindre uavhengig av hverandre. Boken er organisert i to hoveddeler."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:355
msgid ""
"Part one, the overview, begins with a big-picture framework written by Paul. "
"He provides some historical context for the digital commons, describing the "
"three ways society has managed resources and shared wealth—the commons, the "
"market, and the state. He advocates for thinking beyond business and market "
"terms and eloquently makes the case for sharing and enlarging the digital "
"commons."
msgstr ""
"Første del, oversikten, som begynner med det store bildet, er skrevet av "
"Paul. Han gir litt historisk bakgrunn for Digital Commons, som beskriver de "
"tre måtene samfunnet håndterer ressurser og deler inntekter: Allmenninger, "
"markedet og staten. Han er talsmann for tenkning utover næringsvirksomhet og "
"markedsbegreper, og er velformulert om deling og utvidelse av Digital "
"Commons."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:363
msgid ""
"The overview continues with Sarah’s chapter, as she considers what it means "
"to be successfully Made with Creative Commons. While making money is one "
"piece of the pie, there is also a set of public-minded values and the kind "
"of human connections that make sharing truly meaningful. This section "
"outlines the ways the creators, organizations, and businesses we interviewed "
"bring in revenue, how they further the public interest and live out their "
"values, and how they foster connections with the people with whom they share."
msgstr ""
"Oversikten fortsetter med Sarahs kapittel, der hun vurderer hva det betyr å "
"lykkes med Creative Commons. Mens å tjene penger er en del av kaken, er det "
"også et sett av offentlig-baserte verdier, og hva slags menneskelige "
"forbindelser som gjør deling virkelig meningsfullt. Denne delen beskriver "
"hvordan skaperne, organisasjoner og bedrifter vi intervjuet, skaffer "
"inntekter, hvordan de videre fremmer allmenne interesser og realiserer sine "
"verdier, og hvordan de bygger forbindelser med folk de deler med."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:373
msgid ""
"And to end part one, we have a short section that explains the different "
"Creative Commons licenses. We talk about the misconception that the more "
"restrictive licenses—the ones that are closest to the all-rights-reserved "
"model of traditional copyright—are the only ways to make money."
msgstr ""
"Og for å avslutte første del, har vi et kort avsnitt som forklarer de ulike "
"Creative Commons-lisensene. Vi snakker om misforståelsen om at jo mer "
"restriktiv lisensene - de som er nærmest «alle rettigheter reservert»-"
"modellen i tradisjonell opphavsrett - er den eneste måten å tjene penger på."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:380
msgid ""
"Part two of the book is made up of the twenty-four stories of the creators, "
"businesses, and organizations we interviewed. While both of us participated "
"in the interviews, we divided up the writing of these profiles."
msgstr ""
"Del to av boken består av de tjuefire historiene til aktører, bedrifter og "
"organisasjoner vi intervjuet. Begge deltok i intervjuene, mens vi fordelte "
"skrivingen av profilene."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:386
msgid ""
"Of course, we are pleased to make the book available using a Creative "
"Commons Attribution-ShareAlike license. Please copy, distribute, translate, "
"localize, and build upon this work."
msgstr ""
"Selvfølgelig er vi glade for å gjøre boken tilgjengelig med en Creative "
"Commons Attribution-ShareAlike lisens. Kopier, distribuer, oversett, "
"lokaliser, og bygg gjerne videre på dette arbeidet."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:391
msgid ""
"Writing this book has transformed and inspired us. The way we now look at "
"and think about what it means to be Made with Creative Commons has "
"irrevocably changed. We hope this book inspires you and your enterprise to "
"use Creative Commons and in so doing contribute to the transformation of our "
"economy and world for the better."
msgstr ""
"Denne boka har endret og inspirert oss. Måten vi nå betrakter og tenker på "
"hva det betyr å «gjøre med Creative Commons» er ugjenkallelig forandret. Vi "
"håper denne boken inspirerer deg og ditt foretak til å bruke Creative "
"Commons, og dermed bidra til forandringen av vår økonomi og verden til det "
"bedre."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:398
msgid "<emphasis>Paul and Sarah </emphasis>"
msgstr "<emphasis>Paul og Sarah </emphasis>"

#. type: Content of: <book><part><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:402
msgid "The Big Picture"
msgstr "Det store bildet"

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:404
msgid "The New World of Digital Commons"
msgstr "Digital Commons nye verden"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:406
msgid "Paul Stacey"
msgstr "Paul Stacey"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:416
msgid ""
"Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14."
msgstr ""
"Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Köhler, 2013), 14."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:409
msgid ""
"Jonathan Rowe eloquently describes the commons as “the air and oceans, the "
"web of species, wilderness and flowing water—all are parts of the commons. "
"So are language and knowledge, sidewalks and public squares, the stories of "
"childhood and the processes of democracy. Some parts of the commons are "
"gifts of nature, others the product of human endeavor. Some are new, such as "
"the Internet; others are as ancient as soil and calligraphy.”<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Jonathan Rowe beskriver elegant allmenningen som «luften og havene, "
"nettverket av arter, villmark og rennende vann - alle er deler av "
"allmenninger. Det samme er språk og kunnskap, fortau og torg, historier fra "
"barndommen og demokratiske prosesser. Noen deler av allmenningen er gaver "
"fra naturen, andre er resultat av av menneskelige bestrebelser.  Noen er "
"nye, for eksempel Internett; andre er like gamle som jord og "
"kalligrafi.»<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:421
msgid ""
"In Made with Creative Commons, we focus on our current era of digital "
"commons, a commons of human-produced works. This commons cuts across a broad "
"range of areas including cultural heritage, education, research, technology, "
"art, design, literature, entertainment, business, and data. Human-produced "
"works in all these areas are increasingly digital. The Internet is a kind of "
"global, digital commons. The individuals, organizations, and businesses we "
"profile in our case studies use Creative Commons to share their resources "
"online over the Internet."
msgstr ""
"I «Laget med Creative Commons» fokuserer vi på vår nåværende æra med "
"digitale allmenninger, enn allmenningen med menneskelagede arbeider. Denne "
"allmenningen går på tvers av en rekke områder, inkludert kulturarv, "
"utdanning, forskning, teknologi, kunst, design, litteratur, underholdning, "
"forretning og data.  Menneskelagede arbeider på alle disse områdene er i "
"økende grad digitale. Internett er en slags global, digital allmenning. "
"Personer, organisasjoner og bedrifter i våre referanseløsninger bruker "
"Creative Commons til å dele sine ressurser tilkoblet Internett."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:436
msgid ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 176."
msgstr ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 176."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:444
msgid "Ibid., 15."
msgstr "Ibid., 15."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:432
msgid ""
"The commons is not just about shared resources, however. It’s also about the "
"social practices and values that manage them. A resource is a noun, but to "
"common—to put the resource into the commons—is a verb.<placeholder type="
"\"footnote\" id=\"0\"/> The creators, organizations, and businesses we "
"profile are all engaged with commoning. Their use of Creative Commons "
"involves them in the social practice of commoning, managing resources in a "
"collective manner with a community of users.<placeholder type=\"footnote\" "
"id=\"1\"/> Commoning is guided by a set of values and norms that balance the "
"costs and benefits of the enterprise with those of the community. Special "
"regard is given to equitable access, use, and sustainability."
msgstr ""
"Allmenningen handler imidlertid ikke bare om delte ressurser, også sosial "
"praksis og verdiene som styrer den. En ressurs er et substantiv, men "
"allmenngjøring - å legge  ressursen inn i allmenningen - er et verb."
"<placeholder type=\"footnote\" id=\"0\"/> Produsenter, organisasjoner og "
"bedrifter vi profilerer er alle engasjert i allmenngjøring. Deres bruk av "
"Creative Commons involverer dem i den sosiale gjennomføringen av "
"allmenngjøring, administrering av ressurser kollektivt i et brukerfellesskap."
"<placeholder type=\"footnote\" id=\"1\"/> Allmenngjøring styres av et sett "
"verdier og normer som balanserer kostnadene og fordelene for foretaket med "
"de fra fellesskapet. Særlig vekt er tillagt rettferdig tilgang, bruk og "
"bærekraft."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:451
msgid "The Commons, the Market, and the State"
msgstr "Almenningen, markedet, og staten"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:457
msgid "Ibid., 145."
msgstr "Ibid., 145."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:453
msgid ""
"Historically, there have been three ways to manage resources and share "
"wealth: the commons (managed collectively), the state (i.e., the "
"government), and the market—with the last two being the dominant forms today."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Historisk har det vært tre måter å administrere ressurser og fordele rikdom "
"på: Allmenninger (håndtert kollektivt) og staten (dvs. regjeringen) markedet "
"- med de siste to som de  dominerende former i dag.<placeholder type="
"\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:466
msgid "Ibid., 175."
msgstr "Ibid., 175."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:461
msgid ""
"The organizations and businesses in our case studies are unique in the way "
"they participate in the commons while still engaging with the market and/or "
"state. The extent of engagement with market or state varies. Some operate "
"primarily as a commons with minimal or no reliance on the market or state."
"<placeholder type=\"footnote\" id=\"0\"/> Others are very much a part of the "
"market or state, depending on them for financial sustainability. All operate "
"as hybrids, blending the norms of the commons with those of the market or "
"state."
msgstr ""
"Organisasjoner og bedrifter i våre referanseløsninger er unike i måten de "
"deltar i allmenningen mens de fortsatt er engasjert i markedet og/eller i "
"offentlig sektor. Omfanget av engasjement i markedet, eller i det offentlige "
"varierer. Noen opererer primært som allmenning hvis virke uten eller i liten "
"grad er avhengig av markedet eller det offentlige.<placeholder type="
"\"footnote\" id=\"0\"/>  Andre er i høyeste grad en del av markedet eller "
"det offentlige, og avhenger av dem for sin finansielle bærekraft. Alle "
"fungerer som hybrider, som kombinerer allemannseiets normer med dem som "
"gjelder for markeder eller det offentlige."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:473
msgid ""
"Fig. 1. is a depiction of how an enterprise can have varying levels of "
"engagement with commons, state, and market."
msgstr ""
"Fig.1. Skildrer hvordan en bedrift kan ha varierende grad av engasjement med "
"allemannseie, det offentlige og markedet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:477
msgid ""
"Some of our case studies are simply commons and market enterprises with "
"little or no engagement with the state. A depiction of those case studies "
"would show the state sphere as tiny or even absent. Other case studies are "
"primarily market-based with only a small engagement with the commons. A "
"depiction of those case studies would show the market sphere as large and "
"the commons sphere as small. The extent to which an enterprise sees itself "
"as being primarily of one type or another affects the balance of norms by "
"which they operate."
msgstr ""
"Noen av våre referanseløsninger er bare allemannseie, og har liten eller "
"ikke noe engasjement i forhold til offentlig sektor. En beskrivelse av disse "
"løsningene ville vise at tilknytningen til offentlig sektor er liten, eller "
"til og med fraværende. Andre referanser er primært markedsbaserte med bare "
"et lite engasjement i allemannseie. Fremstillingen av disse "
"referansestudiene viser at markedssfæren er stor og fellesskapssfæren liten. "
"I hvilken grad en bedrift ser seg selv som hovedsakelig av én type eller en "
"annen påvirker sammensetningen av de normer de styrer etter."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:488
msgid ""
"All our case studies generate money as a means of livelihood and "
"sustainability. Money is primarily of the market. Finding ways to generate "
"revenue while holding true to the core values of the commons (usually "
"expressed in mission statements) is challenging. To manage interaction and "
"engagement between the commons and the market requires a deft touch, a "
"strong sense of values, and the ability to blend the best of both."
msgstr ""
"Alle våre referanseløsninger genererer penger til livsopphold og bærekraft. "
"Penger kommer hovedsakelig fra markedet. Det er utfordrende å finne måter å "
"generere inntekter på, når man holder seg til kjerneverdiene i allemannseie "
"(vanligvis uttrykt i målformuleringer). Å administrere samhandling og "
"engasjement mellom fellesskapene og markedet krever litt netthendthet, en "
"sterk følelse av verdier, og evnen til å kombinere det beste fra begge."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:497
msgid ""
"The state has an important role to play in fostering the use and adoption of "
"the commons. State programs and funding can deliberately contribute to and "
"build the commons. Beyond money, laws and regulations regarding property, "
"copyright, business, and finance can all be designed to foster the commons."
msgstr ""
"Staten har en viktig rolle å spille i å fremme aksept og bruk av felleseier. "
"Statlige programmer og finansiering kan bevisst bidra til å bygge "
"allemannseier. Utover  bevilgninger, lovgivning og regler om eiendomsrett, "
"kan opphavsrett, forretningsvirksomhet og finansiering, alle være utformet "
"for å fremme allemannseie."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:504
#: MadewithCreativeCommonsmostup-to-dateversion.xml:511
msgid "Enterprise engagement with commons, state and market."
msgstr ""
"En bedrifts varierende grad av engasjement med allemannseie, det offentlige "
"og markedet."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:507
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000008000000045C30360249076453E6.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000008000000045C30360249076453E6.png\" width=\"100.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><sect1><figure>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:506
#: MadewithCreativeCommonsmostup-to-dateversion.xml:555
#: MadewithCreativeCommonsmostup-to-dateversion.xml:673
#: MadewithCreativeCommonsmostup-to-dateversion.xml:802
#: MadewithCreativeCommonsmostup-to-dateversion.xml:844
#: MadewithCreativeCommonsmostup-to-dateversion.xml:929
msgid "<placeholder type=\"mediaobject\" id=\"0\"/>"
msgstr "<placeholder type=\"mediaobject\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:517
msgid ""
"It’s helpful to understand how the commons, market, and state manage "
"resources differently, and not just for those who consider themselves "
"primarily as a commons. For businesses or governmental organizations who "
"want to engage in and use the commons, knowing how the commons operates will "
"help them understand how best to do so. Participating in and using the "
"commons the same way you do the market or state is not a strategy for "
"success."
msgstr ""
"Det er nyttig for alle å forstå hvordan allemannseie, markedet og offentlig "
"sektor håndterer ressurser på ulike måter, og ikke bare for dem som anser "
"seg selv som hovedsakelig et felleseie. For bedrifter eller offentlige "
"organisasjoner som ønsker å engasjere seg i, og å bruke allemannseie, vil "
"det å vite hvordan allmenninger fungerer være til hjelp for å forstå den "
"beste måten for å gjøre dette på. For å delta i og bruke felleseie på samme "
"måte som man ellers arbeider i markedet eller i staten, er ikke en strategi "
"for suksess."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:528
msgid "The Four Aspects of a Resource"
msgstr "De fire aspektene ved en ressurs"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:533
msgid ""
"Daniel H. Cole, “Learning from Lin: Lessons and Cautions from the Natural "
"Commons for the Knowledge Commons,” in Governing Knowledge Commons, eds. "
"Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg (New "
"York: Oxford University Press, 2014), 53."
msgstr ""
"Daniel H. Cole, «Learning from Lin: Lessons and Cautions from the Natural "
"Commons for the Knowledge Commons», i Governing Knowledge Commons, eds. "
"Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg (New "
"York: Oxford University Press, 2014), 53."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:530
msgid ""
"As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework "
"for analyzing how natural resources are managed in a commons.<placeholder "
"type=\"footnote\" id=\"0\"/> Her framework considered things like the "
"biophysical characteristics of common resources, the community’s actors and "
"the interactions that take place between them, rules-in-use, and outcomes. "
"That framework has been simplified and generalized to apply to the commons, "
"the market, and the state for this chapter."
msgstr ""
"Som en del av sitt Nobelprisvinnende arbeid, utviklet Elinor Ostrom et "
"rammeverk for å analysere hvordan naturressurser administreres i en "
"allmenning.<placeholder type=\"footnote\" id=\"0\"/> Hennes rammeverk "
"vurderte ting som biofysiske karakteristikker ved felles ressurser, "
"samfunnets aktører og samhandlingene som foregår mellom dem, uformelle "
"regler-i-bruk, og resultater. Dette rammeverket er forenklet og generalisert "
"for å brukes på felleseie, markedet og staten, det offentlige, for dette "
"kapitlet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:546
msgid ""
"To compare and contrast the ways in which the commons, market, and state "
"work, let’s consider four aspects of resource management: resource "
"characteristics, the people involved and the process they use, the norms and "
"rules they develop to govern use, and finally actual resource use along with "
"outcomes of that use (see Fig. 2)."
msgstr ""
"Hvis du vil sammenligne og vise kontraster i måter som allemannseie, "
"markedet, og det offentlige arbeider, la oss vurdere fire sider ved "
"ressursadministrasjon: Ressursens karakteristika, de involverte personene og "
"den prosessen de bruker, normer og regler de utvikler for å styre bruken, og "
"til slutt den faktiske ressursbruken sammen med resultatene av denne bruken "
"(se Fig. 2)."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:554
#: MadewithCreativeCommonsmostup-to-dateversion.xml:560
msgid "Four aspects of resource management"
msgstr "Fire aspekter ved ressursbehandling"

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:556
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png\" width=\"100.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:566
msgid "Characteristics"
msgstr "Karakteristika"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:568
msgid ""
"Resources have particular characteristics or attributes that affect the way "
"they can be used. Some resources are natural; others are human produced. And—"
"significantly for today’s commons—resources can be physical or digital, "
"which affects a resource’s inherent potential."
msgstr ""
"Ressurser har spesielle egenskaper eller attributter som påvirker hvordan de "
"kan brukes. Noen ressurser er naturlige; andre er menneskeskapt. Og - av "
"betydning  for dagens felleseie - ressurser kan være fysiske eller digitale, "
"som påvirker det  iboende ressurspotensialet."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:575
msgid ""
"Physical resources exist in limited supply. If I have a physical resource "
"and give it to you, I no longer have it.  When a resource is removed and "
"used, the supply becomes scarce or depleted. Scarcity can result in "
"competing rivalry for the resource. Made with Creative Commons enterprises "
"are usually digitally based but some of our case studies also produce "
"resources in physical form. The costs of producing and distributing a "
"physical good usually require them to engage with the market."
msgstr ""
"Fysiske ressurser er begrensede. Hvis jeg har en fysisk ressurs og gir den "
"til deg, har jeg den ikke lenger. Når en ressurs er fjernet og brukt, blir "
"tilbudet knapt eller utarmet. Knapphet kan føre til konkurranse og "
"rivalisering om ressursen. Tiltak laget med Creative Commons er vanligvis "
"digitalt basert, men noen av våre referanseløsninger produserer også "
"ressurser i fysisk form. Kostnadene ved å produsere og distribuere et fysisk "
"gode, krever vanligvis at man benytter  markedet."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:586
msgid ""
"Physical resources are depletable, exclusive, and rivalrous.  Digital "
"resources, on the other hand, are nondepletable, nonexclusive, and "
"nonrivalrous. If I share a digital resource with you, we both have the "
"resource. Giving it to you does not mean I no longer have it. Digital "
"resources can be infinitely stored, copied, and distributed without becoming "
"depleted, and at close to zero cost. Abundance rather than scarcity is an "
"inherent characteristic of digital resources."
msgstr ""
"Fysiske ressurser blir uttømt, er eksklusive, og de konkurreres om. Digitale "
"ressurser, derimot, er uutømmelige, ikke-eksklusive, og gir ikke "
"rivalisering. Hvis jeg deler en digital ressurs med deg, har vi begge "
"ressursen. Å gi den til deg betyr ikke at jeg ikke lenger har den. Digitale "
"ressurser kan lages i det uendelige, kopieres og distribueres uten å bli "
"uttømt, og til en kostnad på nær null. Overflod i stedet for knapphet er en "
"iboende karakteristikk ved digitale ressurser."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:596
msgid ""
"The nondepletable, nonexclusive, and nonrivalrous nature of digital "
"resources means the rules and norms for managing them can (and ought to) be "
"different from how physical resources are managed. However, this is not "
"always the case. Digital resources are frequently made artificially scarce. "
"Placing digital resources in the commons makes them free and abundant."
msgstr ""
"At de digitale ressursene er uuttømmelige, ikke-eksklusive og ikke-"
"rivaliserende, betyr at reglene og normene for å håndtere dem  kan (og bør) "
"være forskjellige fra hvordan fysiske ressurser håndteres. Men det er ikke "
"alltid tilfellet. Digitale ressurser gjøres ofte kunstig knappe. Å plassere "
"digitale ressurser i allmenninger gjør dem gratis og rikelige."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:604
msgid ""
"Our case studies frequently manage hybrid resources, which start out as "
"digital with the possibility of being made into a physical resource. The "
"digital file of a book can be printed on paper and made into a physical "
"book. A computer-rendered design for furniture can be physically "
"manufactured in wood.  This conversion from digital to physical invariably "
"has costs.  Often the digital resources are managed in a free and open way, "
"but money is charged to convert a digital resource into a physical one."
msgstr ""
"Våre referanseprosjekter håndterer ofte hybrid-ressurser, som begynner som "
"digitale med muligheter for å bli omgjort til en fysisk ressurs. Den "
"digitale bokfilen kan trykkes på papir og gjøres til en fysisk bok. Et data-"
"gjengitt design for møbler kan fysisk produseres i tre. Denne konverteringen "
"fra digital til fysisk har alltid kostnader. De digitale ressursene "
"administreres ofte på en fri og åpen måte, men det kreves penger for å "
"konvertere en digital ressurs til en fysisk."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:615
msgid ""
"Beyond this idea of physical versus digital, the commons, market, and state "
"conceive of resources differently (see Fig.  3). The market sees resources "
"as private goods—commodities for sale—from which value is extracted. The "
"state sees resources as public goods that provide value to state citizens. "
"The commons sees resources as common goods, providing a common wealth "
"extending beyond state boundaries, to be passed on in undiminished or "
"enhanced form to future generations."
msgstr ""
"Utover denne ideen med fysisk versus digital, forstår allmenninger, markedet "
"og staten ressurser forskjellig (se Fig. 3). Markedet ser ressurser som "
"private varer, goder for salg - som gir verdi. Staten ser ressurser som "
"offentlige goder som gir verdi til innbyggerne. Allmenninger ser ressurser "
"som felles goder, som gir en felles rikdom som strekker seg utover landets "
"grenser, og videreformidles uforminsket eller forbedret til fremtidige "
"generasjoner."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:626
msgid "People and processes"
msgstr "Folk og prosesser"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:628
msgid ""
"In the commons, the market, and the state, different people and processes "
"are used to manage resources. The processes used define both who has a say "
"and how a resource is managed."
msgstr ""
"I allemannseie, markedet og staten brukes ulike mennesker og prosesser til å "
"administrere ressurser. De prosesser som brukes definerer både hvem som har "
"innflytelse og hvordan en ressurs skal håndteres."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:633
msgid ""
"In the state, a government of elected officials is responsible for managing "
"resources on behalf of the public. The citizens who produce and use those "
"resources are not directly involved; instead, that responsibility is given "
"over to the government.  State ministries and departments staffed with "
"public servants set budgets, implement programs, and manage resources based "
"on government priorities and procedures."
msgstr ""
"I staten utgår en regjering fra folkevalgte som er ansvarlige for "
"ressurshåndteringen på vegne av folk flest. Innbyggerne som produserer og "
"bruker disse ressursene er ikke direkte involvert; i stedet er ansvaret gitt "
"over til regjeringen. Statlige departementer og avdelinger bemannet med "
"offentlige tjenestemenn setter opp budsjetter, gjennomfører programmer og "
"administrerer ressurser basert på regjeringens prioriteringer og prosedyrer."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:642
msgid ""
"In the market, the people involved are producers, buyers, sellers, and "
"consumers. Businesses act as intermediaries between those who produce "
"resources and those who consume or use them. Market processes seek to "
"extract as much monetary value from resources as possible. In the market, "
"resources are managed as commodities, frequently mass-produced, and sold to "
"consumers on the basis of a cash transaction."
msgstr ""
"I markedet er menneskene som er involvert produsenter, kjøpere, selgere og "
"forbrukere. Bedrifter fungerer som mellomledd mellom dem som produserer "
"ressurser og dem som konsumerer eller bruke dem. Markedets prosesser søker å "
"trekke ut så mye verdi fra ressurser som mulig. Ressurser håndteres som en "
"handelsvare i markedet, ofte masseprodusert, og solgt til forbrukere på "
"grunnlag av en betalingstransaksjon."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:653
msgid ""
"Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons (New York: Zed Books, 2014), 93."
msgstr ""
"Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons (New York: Zed bøker, 2014), 93."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:651
msgid ""
"In contrast to the state and market, resources in a commons are managed more "
"directly by the people involved.<placeholder type=\"footnote\" id=\"0\"/> "
"Creators of human produced resources can put them in the commons by personal "
"choice. No permission from state or market is required. Anyone can "
"participate in the commons and determine for themselves the extent to which "
"they want to be involved—as a contributor, user, or manager. The people "
"involved include not only those who create and use resources but those "
"affected by outcome of use. Who you are affects your say, actions you can "
"take, and extent of decision making. In the commons, the community as a "
"whole manages the resources.  Resources put into the commons using Creative "
"Commons require users to give the original creator credit. Knowing the "
"person behind a resource makes the commons less anonymous and more personal."
msgstr ""
"I motsetning til staten og markedet, håndteres ressurser i en allmenning mer "
"direkte av dem som er involvert.<placeholder type=\"footnote\" id=\"0\"/>  "
"De som lager menneskeproduserte ressurser kan legge dem i felleseiet ut fra "
"et personlig valg. Det kreves ingen tillatelse fra staten eller markedet. "
"Alle kan delta i allmenninger og selv bestemme seg for hvor mye de vil være "
"involvert - som en bidragsyter, bruker eller administrator. Involverte "
"inkluderer ikke bare dem som oppretter og bruker ressurser, men også dem som "
"berøres av resultatet av bruk. Hvem du er,  påvirker hva du har å si, hvilke "
"handlinger du kan utføre, og omfanget av beslutningstaking. I allmenninger "
"er det fellesskapet som helhet som administrerer ressursene. Ressurser lagt "
"inn i felleseiet ved å bruke Creative Commons krever at brukerne krediterer "
"den opprinnelige skaperen. Å vite hvem personen bak en ressurs er gjør "
"fellesskapseie mindre anonymt og mer personlig."

#. type: Content of: <book><part><chapter><sect1><sect2><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:671
#: MadewithCreativeCommonsmostup-to-dateversion.xml:678
msgid "How the market, commons and state concieve of resources."
msgstr "Hvordan markedet, fellesskap og staten oppfatter ressurser."

#. type: Content of: <book><part><chapter><sect1><sect2><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:674
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png\" width=\"100.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:685
msgid "Norms and rules"
msgstr "Normer og regler"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:687
msgid ""
"The social interactions between people, and the processes used by the state, "
"market, and commons, evolve social norms and rules. These norms and rules "
"define permissions, allocate entitlements, and resolve disputes."
msgstr ""
"De sosiale samhandlingene mellom mennesker, og prosessene i bruk av staten, "
"markedet og samfunnet for øvrig, utvikler sosiale normer og regler.  Disse "
"normene og reglene definerer tillatelser, tildeler rettigheter og løser "
"disputter."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:693
msgid ""
"State authority is governed by national constitutions. Norms related to "
"priorities and decision making are defined by elected officials and "
"parliamentary procedures. State rules are expressed through policies, "
"regulations, and laws. The state influences the norms and rules of the "
"market and commons through the rules it passes."
msgstr ""
"Statlig myndighet er underlagt nasjonale regelverk. Normer knyttet til "
"prioriteringer og beslutningsprosesser defineres av folkevalgte og "
"parlamentariske prosedyrer. Statlige føringer uttrykkes gjennom politiske "
"vedtak, lover og regler. Staten påvirker normer og regler for markedet og "
"allemannseie gjennom de reglene som lages."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:701
msgid ""
"Market norms are influenced by economics and competition for scarce "
"resources. Market rules follow property, business, and financial laws "
"defined by the state."
msgstr ""
"Markedets normer påvirkes av økonomi og konkurranse om knappe ressurser. "
"Markedsreguleringene omfatter eierforhold, virksomheter og økonomiske lover "
"definert av staten."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:713
msgid "Bollier, Think Like a Commoner, 175."
msgstr "Bollier, Think Like a Commoner, 175."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:706
msgid ""
"As with the market, a commons can be influenced by state policies, "
"regulations, and laws. But the norms and rules of a commons are largely "
"defined by the community. They weigh individual costs and benefits against "
"the costs and benefits to the whole community. Consideration is given not "
"just to economic efficiency but also to equity and sustainability."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Som med markedet, kan et felleseie påvirkes av offentlig politikk, "
"forskrifter og lover. Men normer og regler for et allemannseie er i det "
"store og hele definert av det selv. De veier individuelle kostnader og "
"fordeler - mot kostnader og fordeler for hele felleseiet. Det tas hensyn "
"ikke bare til økonomisk effektivitet, men også til egenkapital og "
"bærekraftighet.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:718
msgid "Goals"
msgstr "Mål"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:720
msgid ""
"The combination of the aspects we’ve discussed so far—the resource’s "
"inherent characteristics, people and processes, and norms and rules—shape "
"how resources are used. Use is also influenced by the different goals the "
"state, market, and commons have."
msgstr ""
"Kombinasjonen av forhold vi har diskutert så langt - de innebygde "
"egenskapene, folk, prosesser, normer og regler - utformer hvordan ressursene "
"brukes. Bruken påvirkes også av de ulike målene til stat, marked og "
"allmenninger."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:732
msgid ""
"Joshua Farley and Ida Kubiszewski, “The Economics of Information in a Post-"
"Carbon Economy,” in Free Knowledge: Confronting the Commodification of Human "
"Discovery, eds.  Patricia W. Elliott and Daryl H. Hepting (Regina, SK: "
"University of Regina Press, 2015), 201–4."
msgstr ""
"Joshua Farley and Ida Kubiszewski, “The Economics of Information in a Post-"
"Carbon Economy,” i Free Knowledge: Confronting the Commodification of Human "
"Discovery, eds.  Patricia W. Elliott and Daryl H. Hepting (Regina, SK: "
"University of Regina Press, 2015), 201–4."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:727
msgid ""
"In the market, the focus is on maximizing the utility of a resource. What we "
"pay for the goods we consume is seen as an objective measure of the utility "
"they provide. The goal then becomes maximizing total monetary value in the "
"economy.<placeholder type=\"footnote\" id=\"0\"/> Units consumed translates "
"to sales, revenue, profit, and growth, and these are all ways to measure "
"goals of the market."
msgstr ""
"I markedet er fokus på å maksimere nytten av en ressurs. Hva vi betaler for "
"varene vi forbruker, sees på som et objektivt mål på den nytten de gir. "
"Målet blir da å maksimere den totale økonomiske pengeverdien.<placeholder "
"type=\"footnote\" id=\"0\"/>  Forbrukte enheter forstås som salg, inntekter, "
"fortjeneste og vekst, og alle disse er måter å måle markedet på."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:742
msgid ""
"The state aims to use and manage resources in a way that balances the "
"economy with the social and cultural needs of its citizens. Health care, "
"education, jobs, the environment, transportation, security, heritage, and "
"justice are all facets of a healthy society, and the state applies its "
"resources toward these aims. State goals are reflected in quality of life "
"measures."
msgstr ""
"Staten skal bruke og administrere ressurser på en måte som balanserer "
"økonomi mot sosiale og kulturelle behov hos sine innbyggere. Helsetjenester, "
"utdanning, jobb, miljø, transport, sikkerhet, arv og rettferdighet er alle "
"fasetter av et sunt samfunn, og staten bruker sine ressurser får å nå disse "
"målene. Statlige mål gjenspeiles i mål på livskvalitet."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:751
msgid ""
"In the commons, the goal is maximizing access, equity, distribution, "
"participation, innovation, and sustainability.  You can measure success by "
"looking at how many people access and use a resource; how users are "
"distributed across gender, income, and location; if a community to extend "
"and enhance the resources is being formed; and if the resources are being "
"used in innovative ways for personal and social good."
msgstr ""
"I allmenninger er målet å maksimere tilgang, egenkapital, distribusjon, "
"deltakelse, innovasjon og bærekraft. Vi kan måle suksess ved å se på hvor "
"mange personer som har tilgang til, og bruker en ressurs; hvordan brukere er "
"fordelt på kjønn, inntekt og hvor de er; om et fellesskap utvider og "
"forbedrer de ressurser som lages; og om ressursene brukes på innovative "
"måter til fordel for personlige og sosiale goder."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:760
msgid ""
"As hybrid combinations of the commons with the market or state, the success "
"and sustainability of all our case study enterprises depends on their "
"ability to strategically utilize and balance these different aspects of "
"managing resources."
msgstr ""
"Som hybridkombinasjoner av fellesskapseie og marked eller staten, avhenger "
"suksessen og bærekraften i alle våre referansestudier av tiltakenes evne til "
"å strategisk bruke og balansere disse ulike aspektene ved sin "
"ressurshåndtering."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:768
msgid "A Short History of the Commons"
msgstr "Commons korte historie"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:770
msgid ""
"Using the commons to manage resources is part of a long historical "
"continuum. However, in contemporary society, the market and the state "
"dominate the discourse on how resources are best managed. Rarely is the "
"commons even considered as an option. The commons has largely disappeared "
"from consciousness and consideration. There are no news reports or speeches "
"about the commons."
msgstr ""
"Å bruke felleseiet for å håndtere ressurser er en del av et langt historisk "
"kontinuum. Men i det moderne samfunn dominerer markedet og staten "
"diskusjonen om hvordan ressurser best håndteres. Sjelden er allmenneie "
"engang vurdert som et alternativ. Allmenneie har i stor grad forsvunnet fra "
"bevissthet og omtanke. Det finnes ingen nyheter eller taler om allmenninger."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:779
msgid ""
"But the more than 1.1 billion resources licensed with Creative Commons "
"around the world are indications of a grassroots move toward the commons. "
"The commons is making a resurgence. To understand the resilience of the "
"commons and its current renewal, it’s helpful to know something of its "
"history."
msgstr ""
"Men mer enn 1,1 milliarder ressurser er lisensiert med Creative Commons "
"verden over, og er indikasjon på en grasrotbevegelse i retning allemannseie. "
"Felleseie blomstrer opp. For å forstå motstandsdyktigheten til slik eie og "
"den pågående fornyelsen er det nyttig å vite noe om historien."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:790
msgid ""
"Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for "
"the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society, "
"2014), 42–43."
msgstr ""
"Rowe, Our Common Wealth, 19; ogHeather Menzies, Reclaiming the Commons for "
"the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society, "
"2014), 42–43."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:786
msgid ""
"For centuries, indigenous people and preindustrialized societies managed "
"resources, including water, food, firewood, irrigation, fish, wild game, and "
"many other things collectively as a commons.<placeholder type=\"footnote\" "
"id=\"0\"/> There was no market, no global economy. The state in the form of "
"rulers influenced the commons but by no means controlled it. Direct social "
"participation in a commons was the primary way in which resources were "
"managed and needs met. (Fig.  4 illustrates the commons in relation to the "
"state and the market.)"
msgstr ""
"I århundrer håndterte urfolk og førindustrielle samfunn ressurser, inkludert "
"vann, mat, brensel, vanning, fisk, vilt og mange andre ting, kollektivt som "
"et felleseie.<placeholder type=\"footnote\" id=\"0\"/>  Det var intet "
"marked, ingen verdensøkonomi. Staten, i form av herskere, påvirket "
"allmenningene, men kontrollerte dem ikke. Direkte sosial deltakelse i en "
"allmenning var primært måten ressurser ble styrt på og behov møtt. (Fig. 4 "
"illustrerer allemannseie i forhold til stat og marked.)"

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:801
#: MadewithCreativeCommonsmostup-to-dateversion.xml:807
msgid "In preindustrialized society."
msgstr "I det førindustrielle samfunnet."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:803
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C4000005153EACBD62F00F6BA9.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C4000005153EACBD62F00F6BA9.png\" width=\"100.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:816
msgid "Bollier, Think Like a Commoner, 55–78."
msgstr "Bollier, Think Like a Commoner, 55–78."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:820
msgid ""
"Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in "
"Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57; "
"and Bollier, Think Like a Commoner, 88."
msgstr ""
"Fritjof Capra og Ugo Mattei, The Ecology of Law: Toward a Legal System in "
"Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57; "
"og Bollier, Think Like a Commoner, 88."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:813
msgid ""
"This is followed by a long history of the state (a monarchy or ruler) taking "
"over the commons for their own purposes. This is called enclosure of the "
"commons.<placeholder type=\"footnote\" id=\"0\"/> In olden days, “commoners” "
"were evicted from the land, fences and hedges erected, laws passed, and "
"security set up to forbid access.<placeholder type=\"footnote\" id=\"1\"/> "
"Gradually, resources became the property of the state and the state became "
"the primary means by which resources were managed. (See Fig. 5)."
msgstr ""
"Dette etterfølges av en lang historie der staten (monarkiet eller en "
"makthaver) overtar allmenninger til sine egne formål. Dette kalles "
"innkapsling av allemannseie.<placeholder type=\"footnote\" id=\"0\"/> I "
"gamle dager ble «commoners» kastet ut fra land, gjerder og hekker reist, "
"lover og sikkerhet satt opp for å forby adgang.<placeholder type=\"footnote"
"\" id=\"1\"/> Gradvis ble ressursene statens eiendom, og staten ble det "
"primære verktøy for styring av disse ressursene. (Se Fig. 5)."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:829
msgid ""
"Holdings of land, water, and game were distributed to ruling family and "
"political appointees. Commoners displaced from the land migrated to cities. "
"With the emergence of the industrial revolution, land and resources became "
"commodities sold to businesses to support production. Monarchies evolved "
"into elected parliaments. Commoners became labourers earning money operating "
"the machinery of industry. Financial, business, and property laws were "
"revised by governments to support markets, growth, and productivity. Over "
"time ready access to market produced goods resulted in a rising standard of "
"living, improved health, and education. Fig. 6 shows how today the market is "
"the primary means by which resources are managed."
msgstr ""
"Eierskap til land, vann og vilt ble distribuert til den herskende familien "
"og politisk utvalgte. Vanlige borgere ble fordrevet fra landområdene og "
"flyttet til byer. Med fremveksten av den industrielle revolusjonen ble "
"landområder og ressurser solgt til bedrifter for å støtte produksjon. "
"Folkevalgte forsamlinger tok etter hvert over fra monarkier. Vanlige borgere "
"ble arbeidere som tjente penger ved å betjene maskiner i industrien. Finans, "
"virksomhet (business) og eiendomsrett ble omdannet av regjeringene til å "
"støtte markeder, vekst og produktivitet. Over tid ga tilgang til "
"markedsproduserte varer en økende levestandard, bedre helse og utdanning. "
"Fig. 6 viser hvordan markedet i dag  er hovedmåten for ressurshåndtering."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:843
#: MadewithCreativeCommonsmostup-to-dateversion.xml:849
msgid "The commons is gradually superseded by the state."
msgstr "Commons er gradvis erstattet av staten."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:845
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C4000005150F069409C1CC12F0.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C4000005150F069409C1CC12F0.png\" width=\"100.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:855
msgid ""
"However, the world today is going through turbulent times. The benefits of "
"the market have been offset by unequal distribution and overexploitation."
msgstr ""
"Men i dag går verden gjennom turbulente tider. Fordelene med markedet har "
"blitt motvirket av ulik fordeling og rovdrift."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:860
msgid ""
"Overexploitation was the topic of Garrett Hardin’s influential essay “The "
"Tragedy of the Commons,” published in Science in 1968. Hardin argues that "
"everyone in a commons seeks to maximize personal gain and will continue to "
"do so even when the limits of the commons are reached. The commons is then "
"tragically depleted to the point where it can no longer support anyone. "
"Hardin’s essay became widely accepted as an economic truism and a "
"justification for private property and free markets."
msgstr ""
"Overutnyttelse var tema for Garrett Hardins innflytelsesrike essay om "
"«Allmenningens tragedie», publisert i Science i 1968. Hardin hevder at alle "
"i et allmenneie søker å maksimere personlig vinning, og vil fortsette å "
"gjøre det selv når allmenningens grenser er nådd.  Felleseiet blir så, "
"tragisk nok, utarmet til et punkt hvor det ikke lenger understøtter noen. "
"Hardins essay ble allment akseptert som en økonomisk sannhet og en "
"begrunnelse for privat eiendom og frie markeder."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:887
msgid ""
"Brett M. Frischmann, Michael J. Madison, and Katherine J.  Strandburg, "
"“Governing Knowledge Commons,” in Frischmann, Madison, and Strandburg "
"Governing Knowledge Commons, 12."
msgstr ""
"Brett M. Frischmann, Michael J. Madison, og Katherine J.  Strandburg, "
"“Governing Knowledge Commons,” i Frischmann, Madison, og Strandburg "
"Governing Knowledge Commons, 12."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:870
msgid ""
"However, there is one serious flaw with Hardin’s “The Tragedy of the "
"Commons”—it’s fiction. Hardin did not actually study how real commons work. "
"Elinor Ostrom won the 2009 Nobel Prize in economics for her work studying "
"different commons all around the world. Ostrom’s work shows that natural "
"resource commons can be successfully managed by local communities without "
"any regulation by central authorities or without privatization. Government "
"and privatization are not the only two choices. There is a third way: "
"management by the people, where those that are directly impacted are "
"directly involved. With natural resources, there is a regional locality. The "
"people in the region are the most familiar with the natural resource, have "
"the most direct relationship and history with it, and are therefore best "
"situated to manage it. Ostrom’s approach to the governance of natural "
"resources broke with convention; she recognized the importance of the "
"commons as an alternative to the market or state for solving problems of "
"collective action.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Men det er en alvorlig feil med Hardins «Allmenningens tragedie» - det er "
"fiksjon. Hardin studerer ikke faktisk hvordan virkelige felleseier fungerer. "
"Elinor Ostrom vant Nobelprisen i økonomi i 2009 for sitt arbeid med å med "
"studere allmenneier over hele verden. Ostroms arbeid viser at naturressurs-"
"allmenninger kan behandles med godt resultat av lokalsamfunn uten regulering "
"fra sentrale myndigheter eller uten privatisering. Regjeringen og "
"privatisering er ikke de eneste to valgene. Det er en tredje vei: Styring av "
"mennesker, der de som er direkte påvirket er direkte involvert. "
"Naturressurser er en regional lokalitet. Folk i regionen er mest fortrolig "
"med naturressursene, har den mest direkte relasjonen, og en historie knyttet "
"til dem, og er derfor best plassert til å administrere den. Ostroms "
"tilnærming til styringen av naturressurser brøt med konvensjonen; hun innså "
"betydningen av felleseie som et alternativ til markedet, eller staten for "
"løsning av oppgaver med problemløsning som krever felles innsats."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:893
msgid ""
"Hardin failed to consider the actual social dynamic of the commons. His "
"model assumed that people in the commons act autonomously, out of pure self-"
"interest, without interaction or consideration of others. But as Ostrom "
"found, in reality, managing common resources together forms a community and "
"encourages discourse. This naturally generates norms and rules that help "
"people work collectively and ensure a sustainable commons. Paradoxically, "
"while Hardin’s essay is called The Tragedy of the Commons it might more "
"accurately be titled The Tragedy of the Market."
msgstr ""
"Hardin mislyktes i å vurdere den faktiske sosiale dynamikken ved felleseie. "
"Hans modell antok at folk i allmenneier handler uavhengig av hverandre, ut "
"fra ren egeninteresse, uten interaksjon eller hensyn til andre. Men som "
"Ostrom fant, i virkeligheten, å håndtere felles ressurser sammen, danner et "
"fellesskap og oppfordrer til meningsutveksling. Dette generer naturligvis "
"normer og regler som hjelpe folk til å arbeide sammen, og sikre et "
"bærekraftig felleseie. Paradoksalt nok, mens Hardins essay kalles "
"Allmenningens tragedie, burde det kanskje mer nøyaktig hatt tittelen "
"Markedets tragedie."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:909
msgid ""
"Farley and Kubiszewski, “Economics of Information,” in Elliott and Hepting, "
"Free Knowledge, 203."
msgstr ""
"Farley og Kubiszewski, «Economics of Information», i Elliott og Hepting, "
"Free Knowledge, 203."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:905
msgid ""
"Hardin’s story is based on the premise of depletable resources.  Economists "
"have focused almost exclusively on scarcity-based markets. Very little is "
"known about how abundance works.<placeholder type=\"footnote\" id=\"0\"/> "
"The emergence of information technology and the Internet has led to an "
"explosion in digital resources and new means of sharing and distribution. "
"Digital resources can never be depleted. An absence of a theory or model for "
"how abundance works, however, has led the market to make digital resources "
"artificially scarce and makes it possible for the usual market norms and "
"rules to be applied."
msgstr ""
"Hardins historie er basert på forutsetningen om begrensede ressurser.  "
"Økonomer har fokusert nesten utelukkende på knapphetsbaserte markeder.  "
"Svært lite er kjent om virkningene av overflod.<placeholder type=\"footnote"
"\" id=\"0\"/>  Fremveksten av informasjonsteknologi og Internett har ført "
"til en eksplosjon i digitale ressurser og nye måter for deling og "
"distribusjon. Digitale ressursene kan aldri bli uttømt. Fravær av en teori "
"eller modell for hvordan overflod fungerer, har ledet markedet til å gjøre "
"digitale ressurser kunstig knappe, og gjøre det mulig å anvende markedets "
"vanlige normer og regler."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:920
msgid ""
"When it comes to use of state funds to create digital goods, however, there "
"is really no justification for artificial scarcity. The norm for state "
"funded digital works should be that they are freely and openly available to "
"the public that paid for them."
msgstr ""
"Når det kommer til bruk av statlige bevilgninger til å lage digitale "
"produkter, er det egentlig ingen begrunnelse for kunstig knapphet. Normen "
"for statlig finansierte digitale arbeider skal være at de er fritt og åpent "
"tilgjengelige for allmennheten som betalte for dem."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:927
#: MadewithCreativeCommonsmostup-to-dateversion.xml:934
msgid "How the market, the state and the commons look today."
msgstr "Hvordan markedet, staten og commons ser ut i dag."

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:930
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C400000515F1CAA15B223F6BAF.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C400000515F1CAA15B223F6BAF.png\" width=\"100.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:941
msgid "The Digital Revolution"
msgstr "Den digitale revolusjonen"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:943
msgid ""
"In the early days of computing, programmers and developers learned from each "
"other by sharing software. In the 1980s, the free-software movement codified "
"this practice of sharing into a set of principles and freedoms:"
msgstr ""
"I databehandlingens tidlige dager lærte programmerere og utviklere fra "
"hverandre ved å dele programvare. På 1980-tallet kodifiserte fri programvare-"
"bevegelsen denne delingspraksisen til et sett med prinsipper og friheter:"

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:951
msgid "The freedom to run a software program as you wish, for any purpose."
msgstr "Frihet til å kjøre et program som du ønsker, for ethvert formål."

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:957
msgid ""
"The freedom to study how a software program works (because access to the "
"source code has been freely given), and change it so it does your computing "
"as you wish."
msgstr ""
"Friheten til å studere hvordan et program fungerer (fordi tilgangen til "
"kildekoden er frigitt), og endre den så den utfører databehandlingen din "
"slik du ønsker."

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:964
msgid "The freedom to redistribute copies."
msgstr "Friheten til å videredistribuere kopier."

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:971
msgid ""
"“What Is Free Software?” GNU Operating System, the Free Software "
"Foundation’s Licensing and Compliance Lab, accessed December 30, 2016, "
"<ulink url=\"http://www.gnu.org/philosophy/free-sw\"/>."
msgstr ""
"“What Is Free Software?” GNU Operating System, the Free Software "
"Foundation’s Licensing and Compliance Lab, besøkt 30. desember 2016, <ulink "
"url=\"http://www.gnu.org/philosophy/free-sw\"/>."

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:969
msgid ""
"The freedom to distribute copies of your modified versions to others."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Friheten til å distribuere kopier av dine modifiserte versjoner til andre."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:980
msgid ""
"These principles and freedoms constitute a set of norms and rules that "
"typify a digital commons."
msgstr ""
"Disse prinsippene og frihetene utgjør et sett av normer og regler som "
"karakteriserer et digitalt felleseie."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:995
msgid ""
"Wikipedia, s.v. “Open-source software,” last modified November 22, 2016."
msgstr ""
"Wikipedia, s.v. “Open-source software,” siste endret 22. november 2016."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:984
msgid ""
"In the late 1990s, to make the sharing of source code and collaboration more "
"appealing to companies, the open-source-software initiative converted these "
"principles into licenses and standards for managing access to and "
"distribution of software. The benefits of open source—such as reliability, "
"scalability, and quality verified by independent peer review—became widely "
"recognized and accepted. Customers liked the way open source gave them "
"control without being locked into a closed, proprietary technology. Free and "
"open-source software also generated a network effect where the value of a "
"product or service increases with the number of people using it.<placeholder "
"type=\"footnote\" id=\"0\"/> The dramatic growth of the Internet itself owes "
"much to the fact that nobody has a proprietary lock on core Internet "
"protocols."
msgstr ""
"I 1990, for å gjøre deling av kildekode og samarbeid mer tiltrekkende for "
"selskaper, konverterte åpen-kildekodeprogramvare-initiativet prinsippene til "
"lisenser og standarder for å håndtere tilgang til og distribusjon av "
"programvare. Fordelene av åpen kildekode - som pålitelighet, skalerbarhet og "
"kvalitet kontrollert av uavhengige fagfellevurderinger, ble anerkjent og "
"akseptert. Kundene likte måten åpen kildekode ga dem kontroll uten å bli "
"låst inn i en lukket, proprietær teknologi. Gratis og åpen "
"kildekodeprogramvare genereres også en nettverkseffekt der verdien av et "
"produkt eller tjeneste øker med antall personer som bruker det.<placeholder "
"type=\"footnote\" id=\"0\"/>  Den dramatiske veksten i selve Internettet "
"skyldes mye det faktum at ingen har en proprietær lås på kjernens Internett-"
"protokoller."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1010
msgid ""
"Eric S. Raymond, “The Magic Cauldron,” in The Cathedral and the Bazaar: "
"Musings on Linux and Open Source by an Accidental Revolutionary, rev. ed. "
"(Sebastopol, CA: O’Reilly Media, 2001), <ulink url=\"http://www.catb.org/esr/"
"writings/cathedral-bazaar/\"/>."
msgstr ""
"Eric S. Raymond, “The Magic Cauldron,” i The Cathedral and the Bazaar: "
"Musings on Linux and Open Source by an Accidental Revolutionary, rev. ed. "
"(Sebastopol, CA: O’Reilly Media, 2001), <ulink url=\"http://www.catb.org/esr/"
"writings/cathedral-bazaar/\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1002
msgid ""
"While open-source software functions as a commons, many businesses and "
"markets did build up around it. Business models based on the licenses and "
"standards of open-source software evolved alongside organizations that "
"managed software code on principles of abundance rather than scarcity. Eric "
"Raymond’s essay “The Magic Cauldron” does a great job of analyzing the "
"economics and business models associated with open-source software."
"<placeholder type=\"footnote\" id=\"0\"/> These models can provide examples "
"of sustainable approaches for those Made with Creative Commons."
msgstr ""
"Mens åpen kildekodeprogramvare fungerer som et felleseie, bygget mange "
"bedrifter og markeder seg rundt det. Forretningsmodeller basert på lisenser "
"og standarder for åpen kildekode utviklet seg sammen med organisasjoner som "
"håndterte programvarekode med prinsippene om overflod i stedet for knapphet. "
"Eric Raymonds essay «The Magic Cauldron» gjør en stor jobb med å analysere "
"økonomi- og forretningsmodellene forbundet med åpen kildekode.<placeholder "
"type=\"footnote\" id=\"0\"/> Disse modellene kan gi eksempler på "
"bærekraftige tilnærminger for de som er laget med Creative Commons."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1019
msgid ""
"It isn’t just about an abundant availability of digital assets but also "
"about abundance of participation. The growth of personal computing, "
"information technology, and the Internet made it possible for mass "
"participation in producing creative works and distributing them. Photos, "
"books, music, and many other forms of digital content could now be readily "
"created and distributed by almost anyone. Despite this potential for "
"abundance, by default these digital works are governed by copyright laws. "
"Under copyright, a digital work is the property of the creator, and by law "
"others are excluded from accessing and using it without the creator’s "
"permission."
msgstr ""
"Det handler  ikke bare om en rikelig tilgjengelighet av digitale ressurser, "
"men også om en overflod av deltakelse. Veksten i personlige datamaskiner, "
"informasjonsteknologi og Internett gjorde det mulig for massedeltakelse i "
"produksjon av kreative arbeider, og distribusjon av dem. Bilder, bøker, "
"musikk og mange andre typer digitalt innhold kan nå lett opprettes og "
"distribueres av nær sagt alle. Til tross for dette overflodspotensialet, er "
"disse digitale arbeidene som standard underlagt lovgivning om opphavsrett. "
"Med opphavsrett, at et digitalt arbeid er eiendommen til den som har laget "
"det, og etter loven, er andre ekskludert fra adgangen til å bruke det uten "
"opphavspersonens tillatelse."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1038
msgid ""
"New York Times Customer Insight Group, The Psychology of Sharing: Why Do "
"People Share Online? (New York: New York Times Customer Insight Group, "
"2011), <ulink url=\"http://www.iab.net/media/file/POSWhitePaper.pdf\"/>."
msgstr ""
"New York Times Customer Insight Group, The Psychology of Sharing: Why Do "
"People Share Online? (New York: New York Times Customer Insight Group, "
"2011), <ulink url=\"http://www.iab.net/media/file/POSWhitePaper.pdf\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1032
msgid ""
"But people like to share. One of the ways we define ourselves is by sharing "
"valuable and entertaining content. Doing so grows and nourishes "
"relationships, seeks to change opinions, encourages action, and informs "
"others about who we are and what we care about. Sharing lets us feel more "
"involved with the world.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Men folk liker å dele. En av måtene vi definerer oss selv på er å dele "
"verdifull og underholdende innhold. Dette gir vekst og næring til "
"relasjoner, vi søker å endre meninger, oppmuntrer til handling, og "
"informerer andre om hvem vi er og hva vi bryr oss om. Deling lar oss føle "
"oss mer involvert i verden.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1046
msgid "The Birth of Creative Commons"
msgstr "Creative Commons blir til"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1048
msgid ""
"In 2001, Creative Commons was created as a nonprofit to support all those "
"who wanted to share digital content. A suite of Creative Commons licenses "
"was modeled on those of open-source software but for use with digital "
"content rather than software code. The licenses give everyone from "
"individual creators to large companies and institutions a simple, "
"standardized way to grant copyright permissions to their creative work."
msgstr ""
"I 2001 ble Creative Commons opprettet som et nonprofit opplegg for å støtte "
"alle de som ønsket å dele digitalt innhold. En pakke med Creative Commons-"
"lisenser var modellert etter de for programvare med åpen kildekode, men for "
"bruk for digitalt innhold i stedet for programvarekode. Lisensene gir alle, "
"fra individuelle skapere til store selskaper og institusjoner, en enkel "
"standardisert måte å gi  opphavsrettstillatelser for sitt skapende arbeid."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1069
msgid ""
"“Licensing Considerations,” Creative Commons, accessed December 30, 2016, "
"<ulink url=\"http://creativecommons.org/share-your-work/licensing-"
"considerations/\"/>."
msgstr ""
"“Licensing Considerations,” Creative Commons, vist 30. desember, 2016, "
"<ulink url=\"http://creativecommons.org/share-your-work/licensing-"
"considerations/\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1057
msgid ""
"Creative Commons licenses have a three-layer design. The norms and rules of "
"each license are first expressed in full legal language as used by lawyers. "
"This layer is called the legal code. But since most creators and users are "
"not lawyers, the licenses also have a commons deed, expressing the "
"permissions in plain language, which regular people can read and quickly "
"understand. It acts as a user-friendly interface to the legal-code layer "
"beneath. The third layer is the machine-readable one, making it easy for the "
"Web to know a work is Creative Commons–licensed by expressing permissions in "
"a way that software systems, search engines, and other kinds of technology "
"can understand.<placeholder type=\"footnote\" id=\"0\"/> Taken together, "
"these three layers ensure creators, users, and even the Web itself "
"understand the norms and rules associated with digital content in a commons."
msgstr ""
"Creative Commons-lisenser har en tre-lags design. Normer og regler for hver "
"lisens uttrykkes først fullt ut i det juridiske språket som brukes av "
"advokater. Dette kalles den juridiske lisensteksten. Men siden de fleste "
"bidragsytere og brukere ikke er advokater, har lisensene også en commons "
"avtaletekst, som uttrykker tillatelsene i vanlig språk, som folk flest raskt "
"kan lese og forstå. Det fungerer som et brukervennlig grensesnitt til den "
"juridiske koden som ligger under. Det tredje laget er den maskinlesbare, som "
"gjør det enkelt for Internettet å vite om et arbeid har en Creative Commons-"
"lisens ved å uttrykke tillatelser på en måte som programvaresystemer, "
"søkemotorer og andre typer teknologi kan forstå.<placeholder type=\"footnote"
"\" id=\"0\"/>  Sett samlet sikrer disse tre lagene at skaperne, brukere, og "
"nettområdet selv forstår normer og regler for digitalt innhold i et "
"allemannseie."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1077
msgid ""
"In 2015, there were over one billion Creative Commons licensed works in a "
"global commons. These works were viewed online 136 billion times. People are "
"using Creative Commons licenses all around the world, in thirty-four "
"languages. These resources include photos, artwork, research articles in "
"journals, educational resources, music and other audio tracks, and videos."
msgstr ""
"I 2015 var det over en milliard arbeider med Creative Common-lisens globalt. "
"Disse arbeidene ble vist på nettet 136 milliard ganger.  Folk bruker "
"Creative Commons-lisenser på 34 språk over hele verden. Disse ressursene "
"inkluderer bilder, illustrasjoner, forskningsartikler i tidsskrifter, "
"pedagogiske ressurser, musikk og andre lydspor, og videoer."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1090
msgid ""
"Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative "
"Commons, 2015), <ulink url=\"http://stateof.creativecommons.org/2015/\"/>."
msgstr ""
"Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative "
"Commons, 2015), <ulink url=\"http://stateof.creativecommons.org/2015/\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1085
msgid ""
"Individual artists, photographers, musicians, and filmmakers use Creative "
"Commons, but so do museums, governments, creative industries, manufacturers, "
"and publishers. Millions of websites use CC licenses, including major "
"platforms like Wikipedia and Flickr and smaller ones like blogs.<placeholder "
"type=\"footnote\" id=\"0\"/> Users of Creative Commons are diverse and cut "
"across many different sectors. (Our case studies were chosen to reflect that "
"diversity.)"
msgstr ""
"Individuelle kunstnere, fotografer, musikere og filmskapere bruker Creative "
"Commons, men det gjør også museer, regjeringer, kreative næringer, "
"produsenter og forleggere. Millioner av nettsteder bruker CC-lisenser, "
"inkludert store plattformer som Wikipedia og Flickr, og mindre slik som "
"blogger.<placeholder type=\"footnote\" id=\"0\"/> Brukere av Creative "
"Commons er mangfoldige, og går på tvers av mange ulike sektorer. (Våre "
"referanseløsninger ble valgt for å reflektere dette mangfoldet.)"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1098
msgid ""
"Some see Creative Commons as a way to share a gift with others, a way of "
"getting known, or a way to provide social benefit.  Others are simply "
"committed to the norms associated with a commons. And for some, "
"participation has been spurred by the free-culture movement, a social "
"movement that promotes the freedom to distribute and modify creative works. "
"The free-culture movement sees a commons as providing significant benefits "
"compared to restrictive copyright laws. This ethos of free exchange in a "
"commons aligns the free-culture movement with the free and open-source "
"software movement."
msgstr ""
"Noen ser Creative Commons som en måte å dele en gave med andre, en måte for "
"å bli kjent, eller en måte å gi en sosial fordel på. Andre er bare "
"forpliktet i forhold til normene knyttet til et allemannseie. Og for noen er "
"deltakelsen ansporet av fri kultur-bevegelsen, en sosial bevegelse som "
"fremmer friheten til å distribuere og endre kreative arbeider. Fri kultur-"
"bevegelsen ser at allemannseie gir viktige fordeler sammenlignet med "
"restriktive lover om opphavsrett. Denne grunnholdning til fri utveksling i "
"en allmenning samstemmer  fri kultur-bevegelsen med den frie og åpen "
"kildekode-programvare-bevegelsen."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1110
msgid ""
"Over time, Creative Commons has spawned a range of open movements, including "
"open educational resources, open access, open science, and open data. The "
"goal in every case has been to democratize participation and share digital "
"resources at no cost, with legal permissions for anyone to freely access, "
"use, and modify."
msgstr ""
"Over tid, har Creative Commons avfødt en hel rekke med åpne bevegelser, "
"inkludert åpne pedagogiske ressurser, åpen tilgang, åpen vitenskap og åpne "
"data. Målet har i alle tilfeller vært å demokratisere deltakelse, og dele "
"digitale ressurser kostnadsfritt, med juridiske tillatelser for alle for "
"fritt å ha tilgang, bruke, og endre."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1123
msgid ""
"Wikipedia, s.v. “Open Government Partnership,” last modified September 24, "
"2016, <ulink url=\"http://en.wikipedia.org/wiki/Open_Government_Partnership"
"\"/>."
msgstr ""
"Wikipedia, s.v. “Open Government Partnership,” sist endret 24 september "
"2016, <ulink url=\"http://en.wikipedia.org/wiki/Open_Government_Partnership"
"\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1118
msgid ""
"The state is increasingly involved in supporting open movements.  The Open "
"Government Partnership was launched in 2011 to provide an international "
"platform for governments to become more open, accountable, and responsive to "
"citizens. Since then, it has grown from eight participating countries to "
"seventy.<placeholder type=\"footnote\" id=\"0\"/> In all these countries, "
"government and civil society are working together to develop and implement "
"ambitious open-government reforms. Governments are increasingly adopting "
"Creative Commons to ensure works funded with taxpayer dollars are open and "
"free to the public that paid for them."
msgstr ""
"Staten er i økende grad involvert i å støtte åpne bevegelser. The Open "
"Government Partnership (åpen regjeringspartnerskap) ble lansert i 2011 for å "
"gi en internasjonal plattform for regjeringer til å bli mer åpne, ansvarlige "
"og mottakelige i forhold til innbyggerne. Siden da har det vokst fra åtte "
"deltakerland til sytti.<placeholder type=\"footnote\" id=\"0\"/> I alle "
"disse landene arbeider regjeringen og det sivile samfunnet sammen om å "
"utvikle og implementere ambisiøse åpen-regjering-reformer (offentlige "
"reformer). Regjeringer bruker i økende grad Creative Commons for å sikre at "
"arbeid finansiert av skattebetalerne er åpent og gratis for det publikum som "
"betalte for dem."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1134
msgid "The Changing Market"
msgstr "Markedet i forandring"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1142
msgid "Capra and Mattei, Ecology of Law, 114."
msgstr "Capra og Mattei, Ecology of Law, 114."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1150
msgid "Ibid., 116."
msgstr "Ibid., 116."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1136
msgid ""
"Today’s market is largely driven by global capitalism. Law and financial "
"systems are structured to support extraction, privatization, and corporate "
"growth. A perception that the market is more efficient than the state has "
"led to continual privatization of many public natural resources, utilities, "
"services, and infrastructures.<placeholder type=\"footnote\" id=\"0\"/> "
"While this system has been highly efficient at generating consumerism and "
"the growth of gross domestic product, the impact on human well-being has "
"been mixed. Offsetting rising living standards and improvements to health "
"and education are ever-increasing wealth inequality, social inequality, "
"poverty, deterioration of our natural environment, and breakdowns of "
"democracy.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Dagens marked er i stor grad drevet av global kapitalisme. Lov og økonomiske "
"systemer er strukturert for å støtte inntjening, privatisering og bedriftens "
"vekst. En oppfatning at markedet er mer effektivt enn det offentlige, har "
"ført til en kontinuerlig privatisering av mange offentlige ressurser, "
"hjelpemidler, tjenester og infrastruktur.<placeholder type=\"footnote\" id="
"\"0\"/> Mens dette systemet har vært svært effektivt til å generere forbruk "
"og vekst i bruttonasjonalproduktet, har innvirkningen på menneskets trivsel "
"vært blandet.  Motstykket til økende levestandard og forbedringer i helse og "
"utdanning er stadig økende ulikheter i rikdom, sosial ulikhet, fattigdom, "
"forverring av vårt naturlige miljø, og demokratiske sammenbrudd.<placeholder "
"type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1160
msgid ""
"The Swedish International Development Cooperation Agency, “Stockholm "
"Statement” accessed February 15, 2017, <ulink url=\"http://sida.se/"
"globalassets/sida/eng/press/stockholm-statement.pdf\"/>"
msgstr ""
"The Swedish International Development Cooperation Agency, “Stockholm "
"Statement” vist 15. februar, 2017, <ulink url=\"http://sida.se/globalassets/"
"sida/eng/press/stockholm-statement.pdf\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1154
msgid ""
"In light of these challenges there is a growing recognition that GDP growth "
"should not be an end in itself, that development needs to be socially and "
"economically inclusive, that environmental sustainability is a requirement "
"not an option, and that we need to better balance the market, state and "
"community.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"I lys av disse utfordringene er det en voksende anerkjennelse av at BNP-"
"veksten ikke bør være et mål i seg selv, at utvikling trenger å være sosialt "
"og økonomisk inkluderende, at miljømessig bærekraft er en forutsetning ikke "
"et alternativ, og at vi trenger å balansere markedet, stat og samfunn bedre."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1171
msgid ""
"City of Bologna, Regulation on Collaboration between Citizens and the City "
"for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory "
"for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014), "
"<ulink url=\"http://www.labgov.it/wp-content/uploads/sites/9/Bologna-"
"Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-"
"regeneration-of-urban-commons1.pdf\"/>."
msgstr ""
"City of Bologna, Regulation on Collaboration between Citizens and the City "
"for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory "
"for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014), "
"<ulink url=\"http://www.labgov.it/wp-content/uploads/sites/9/Bologna-"
"Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-"
"regeneration-of-urban-commons1.pdf\"/>."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1181
msgid ""
"The Seoul Sharing City website is <ulink url=\"http://english.sharehub.kr\"/"
">; for Amsterdam Sharing City, go to <ulink url=\"http://www.sharenl.nl/"
"amsterdam-sharing-city/\"/>."
msgstr ""
"Seoul Sharing Citys nettside ligger her <ulink url=\"http://english.sharehub."
"kr\"/>; for Amsterdam Sharing City, gå til <ulink url=\"http://www.sharenl."
"nl/amsterdam-sharing-city/\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1166
msgid ""
"These realizations have led to a resurgence of interest in the commons as a "
"means of enabling that balance. City governments like Bologna, Italy, are "
"collaborating with their citizens to put in place regulations for the care "
"and regeneration of urban commons.<placeholder type=\"footnote\" id=\"0\"/> "
"Seoul and Amsterdam call themselves “sharing cities,” looking to make "
"sustainable and more efficient use of scarce resources. They see sharing as "
"a way to improve the use of public spaces, mobility, social cohesion, and "
"safety.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Disse erkjennelser har ført til en fornyet interesse i allemannseie som "
"muliggjør en slik balanse. Byregjeringer, som italienske Bologna, "
"samarbeider med sine innbyggere for å få til forskrifter for omsorg for og "
"modernisering av bymessige felleseier.<placeholder type=\"footnote\" id="
"\"0\"/>  Seoul og Amsterdam kaller seg «delingsbyer», når de søker etter å "
"få til  bærekraftig og mer effektiv bruk av knappe ressurser. De ser deling "
"som en måte å forbedre bruken av offentlige rom, mobilitet, sosialt samhold "
"og sikkerhet.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1198
msgid ""
"Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR "
"Books, 2015), 42."
msgstr ""
"Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR "
"Books, 2015), 42."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1188
msgid ""
"The market itself has taken an interest in the sharing economy, with "
"businesses like Airbnb providing a peer-to-peer marketplace for short-term "
"lodging and Uber providing a platform for ride sharing. However, Airbnb and "
"Uber are still largely operating under the usual norms and rules of the "
"market, making them less like a commons and more like a traditional business "
"seeking financial gain. Much of the sharing economy is not about the commons "
"or building an alternative to a corporate-driven market economy; it’s about "
"extending the deregulated free market into new areas of our lives."
"<placeholder type=\"footnote\" id=\"0\"/> While none of the people we "
"interviewed for our case studies would describe themselves as part of the "
"sharing economy, there are in fact some significant parallels. Both the "
"sharing economy and the commons make better use of asset capacity. The "
"sharing economy sees personal residents and cars as having latent spare "
"capacity with rental value. The equitable access of the commons broadens and "
"diversifies the number of people who can use and derive value from an asset."
msgstr ""
"Markedet selv har vært interessert i delingsøkonomien, med bedrifter som "
"Airbnb som gir et peer-to-peer marked (P2P: likemannsnettverk) for kortvarig "
"overnatting, og Uber som gir en plattform for deling av bilturer. Airbnb og "
"Uber opererer imidlertid fortsatt i stor grad med vanlige normer og regler i "
"et marked, noe som gjør dem mindre som en felleseier, og mer som en "
"tradisjonell virksomhet som søker finansiell inntjening. Mye av "
"delingsøkonomien er ikke om allmenneier, eller å bygge et alternativ til en "
"bedriftsdrevet markedsøkonomi: Det handler om å utvide det deregulerte frie "
"markedet til nye områder i våre liv.<placeholder type=\"footnote\" id=\"0\"/"
"> Mens ingen av de vi intervjuet for våre referanseløsninger ville beskrive "
"seg selv som en del av delingsøkonomien, er det faktisk noen viktige "
"paralleller. Både delingsøkonomi og allmenneie gjør bedre bruk av eiendelens "
"kapasitet. Delingsøkonomien ser på personlig beboere og biler å ha en latent "
"ekstra kapasitet med utleieverdi. Rettferdig tilgang på felleseier utvider "
"og diversifiserer (spre, fordele på ) antall personer som kan bruke og få "
"verdi ut av en eiendel."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1220
msgid ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, Reprint with new preface.  (New York: Hyperion, "
"2010), 78."
msgstr ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, Reprint with new preface (New York: Hyperion, 2010), "
"224."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1210
msgid ""
"One way Made with Creative Commons case studies differ from those of the "
"sharing economy is their focus on digital resources. Digital resources "
"function under different economic rules than physical ones. In a world where "
"prices always seem to go up, information technology is an anomaly. Computer-"
"processing power, storage, and bandwidth are all rapidly increasing, but "
"rather than costs going up, costs are coming down. Digital technologies are "
"getting faster, better, and cheaper. The cost of anything built on these "
"technologies will always go down until it is close to zero.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"Enveis «Made with Creative Commons» (Laget med Creative Commons) "
"referansestudier skiller seg fra delingsøkonomien med sine fokus på digitale "
"ressurser. Digitale ressurser virker under ulike økonomiske regler enn de "
"fysiske. I en verden hvor prisene alltid synes å gå opp, er "
"informasjonsteknologi et avvik. Databehandlingsmakt, lagringsplass og "
"båndbredde er alle raskt økende, men heller enn at kostnadene går opp, går "
"kostnadene ned. Digital teknologi blir raskere, bedre og billigere. "
"Kostnaden for noe som bygger på disse teknologiene vil alltid gå ned til nær "
"null.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1226
msgid ""
"Those that are Made with Creative Commons are looking to leverage the unique "
"inherent characteristics of digital resources, including lowering costs. The "
"use of digital-rights-management technologies in the form of locks, "
"passwords, and controls to prevent digital goods from being accessed, "
"changed, replicated, and distributed is minimal or nonexistent. Instead, "
"Creative Commons licenses are used to put digital content out in the "
"commons, taking advantage of the unique economics associated with being "
"digital. The aim is to see digital resources used as widely and by as many "
"people as possible. Maximizing access and participation is a common goal.  "
"They aim for abundance over scarcity."
msgstr ""
"De som lages med Creative Commons søker å utnytte de unike iboende "
"egenskaper til digitale ressurser, inkludert å senke kostnadene. Bruken av "
"digitale rettighetshåndterte teknologier i form av låser, passord og "
"kontroller for å hindre at digitale produkter blir tilgjengelige,  endret, "
"kopiert og distribuert, er minimal eller ikke-eksisterende. I stedet brukes "
"Creative Commons-lisenser til å legge digitalt innhold i felleseier, og ta "
"fordelen ved den unike økonomi som er knyttet til å være digital. Målet er å "
"oppnå at digitale ressursene brukes så mye og av så mange som mulig. "
"Maksimert tilgang og deltakelse er et felles mål. Deres mål er overflod "
"fremfor knapphet."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1245
msgid ""
"Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the "
"Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave "
"Macmillan, 2014), 273."
msgstr ""
"Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the "
"Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave "
"Macmillan, 2014), 273."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1240
msgid ""
"The incremental cost of storing, copying, and distributing digital goods is "
"next to zero, making abundance possible. But imagining a market based on "
"abundance rather than scarcity is so alien to the way we conceive of "
"economic theory and practice that we struggle to do so.<placeholder type="
"\"footnote\" id=\"0\"/> Those that are Made with Creative Commons are each "
"pioneering in this new landscape, devising their own economic models and "
"practice."
msgstr ""
"Den trinnvise kostnaden ved lagring, kopiering og distribusjon av digitale "
"produkter er neste null, og gjør overflod mulig. Men å forestille seg et "
"marked basert mer på overflod  snarere enn knapphet er så fremmed for måten "
"vi tenker oss økonomisk teori og praksis på, at vi strever med å gjøre det."
"<placeholder type=\"footnote\" id=\"0\"/> Det som er laget med Creative "
"Commons er banebrytende i dette nye landskapet, og utformer sine egne "
"økonomiske modeller og praksiser."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1253
msgid ""
"Some are looking to minimize their interactions with the market and operate "
"as autonomously as possible. Others are operating largely as a business "
"within the existing rules and norms of the market. And still others are "
"looking to change the norms and rules by which the market operates."
msgstr ""
"Noen ønsker å minimere sin samhandling med markedet og operere så "
"selvstendig som mulig. Andre opererer hovedsakelig som en virksomhet "
"innenfor eksisterende regler og normer for markedet. Og andre igjen, søker "
"etter muligheter til å endre normer og regler som markedet fungerer etter."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1267
msgid ""
"Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American "
"Revolution: Democratizing Wealth and Building a Community-Sustaining Economy "
"from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39."
msgstr ""
"Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American "
"Revolution: Democratizing Wealth and Building a Community-Sustaining Economy "
"from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1276
msgid ""
"Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution; "
"Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012), 8–9."
msgstr ""
"Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution; "
"Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012), 8–9."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1260
msgid ""
"For an ordinary corporation, making social benefit a part of its operations "
"is difficult, as it’s legally required to make decisions that financially "
"benefit stockholders. But new forms of business are emerging. There are "
"benefit corporations and social enterprises, which broaden their business "
"goals from making a profit to making a positive impact on society, workers, "
"the community, and the environment.<placeholder type=\"footnote\" id=\"0\"/> "
"Community-owned businesses, worker-owned businesses, cooperatives, guilds, "
"and other organizational forms offer alternatives to the traditional "
"corporation. Collectively, these alternative market entities are changing "
"the rules and norms of the market.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"For et vanlig aksjeselskap er det vanskelig å få til sosial fordel med som "
"en del av sin virksomhet, så det er lovpålagt å ta avgjørelser til økonomisk "
"fordel for aksjonærene. Men nye former for forretningsvirksomhet vokser "
"frem.  Det er veldedige sammenslutninger og sosiale foretak som utvider sine "
"forretningsmål fra å gjøre  fortjeneste til å gjøre en positiv innvirkning "
"på samfunnet, arbeidere, lokalsamfunnet og miljøet.<placeholder type="
"\"footnote\" id=\"0\"/>  Fellesskapseide og arbeidstakereide bedrifter, "
"kooperativer, laug og andre organisasjonsformer er alternativer til "
"tradisjonelle bedrifter. Samlet endrer disse alternative markedsaktørene "
"markedets regler og normer.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1289
msgid ""
"Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010). A preview of the book is available at <ulink url="
"\"http://strategyzer.com/books/business-model-generation\"/>."
msgstr ""
"Alex Osterwalder og Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010), En forhåndsvisning av boken er tilgjengelig på "
"<ulink url=\"http://strategyzer.com/books/business-model-generation\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1282
msgid ""
"“A book on open business models” is how we described it in this book’s "
"Kickstarter campaign. We used a handbook called Business Model Generation as "
"our reference for defining just what a business model is. Developed over "
"nine years using an “open process” involving 470 coauthors from forty-five "
"countries, it is useful as a framework for talking about business models."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"«En bok om åpne forretningsmodeller» er hvordan vi beskrev det i denne "
"bokens Kickstarter-kampanje. Vi brukte en håndbok kalt «Business Model "
"Generation» som vår referanse for å definere hva en forretningsmodell er. "
"Utviklet over ni år med en «åpen prosess» som involverte 470 medforfattere "
"fra 45 land, er den nyttig som et rammeverk for å omtale forretningsmodeller."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1298
msgid ""
"This business model canvas is available to download at <ulink url=\"http://"
"strategyzer.com/canvas/business-model-canvas\"/>."
msgstr ""
"Bildet med forretningsmodellen er tilgjengelig for nedlasting fra <ulink url="
"\"http://strategyzer.com/canvas/business-model-canvas\"/>."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1306
msgid ""
"We’ve made the “Open Business Model Canvas,” designed by the coauthor Paul "
"Stacey, available online at <ulink url=\"http://docs.google.com/drawings/"
"d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit\"/>.  You can also find "
"the accompanying Open Business Model Canvas Questions at <ulink url=\"http://"
"docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit"
"\"/>."
msgstr ""
"Vi har laget et \"Åpen forretningsmodell-bilde,\" designet av medforfatter "
"Paul Stacey, tilgjengelig på nettet fra <ulink url=\"http://docs.google.com/"
"drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit\"/>.  Du kan "
"også finne det medfølgende \"Åpen forretningsmodell-spørsmål-bilde\" fra "
"<ulink url=\"http://docs.google.com/drawings/"
"d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1296
msgid ""
"It contains a “business model canvas,” which conceives of a business model "
"as having nine building blocks.<placeholder type=\"footnote\" id=\"0\"/> "
"This blank canvas can serve as a tool for anyone to design their own "
"business model. We remixed this business model canvas into an open business "
"model canvas, adding three more building blocks relevant to hybrid market, "
"commons enterprises: social good, Creative Commons license, and “type of "
"open environment that the business fits in.”<placeholder type=\"footnote\" "
"id=\"1\"/> This enhanced canvas proved useful when we analyzed businesses "
"and helped start-ups plan their economic model."
msgstr ""
"Den inneholder et «lerret for forretningsmodeller», som oppfatter at en "
"forretningsmodell har ni byggestener.<placeholder type=\"footnote\" id=\"0\"/"
">  Dette tomme lerretet kan tjene som et verktøy for alle som vil lage sine "
"egen forretningsmodell. Vi remikset dette lerretet for forretningsmodeller "
"til et lerret for en åpen virksomhetsmodell, og la til tre flere "
"byggeklosser passende for fellesskapsbedrifter i et hybrid marked: Sosial "
"nytte, Creative Commons-lisens, og «type åpent miljø som virksomheten passer "
"i».<placeholder type=\"footnote\" id=\"1\"/>  Dette forbedrede lerretet "
"viste seg nyttig når vi analyserte bedrifter, og hjalp gründere å planlegge "
"sin økonomiske modell."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1316
msgid ""
"In our case study interviews, many expressed discomfort over describing "
"themselves as an open business model—the term business model suggested "
"primarily being situated in the market.  Where you sit on the commons-to-"
"market spectrum affects the extent to which you see yourself as a business "
"in the market.  The more central to the mission shared resources and commons "
"values are, the less comfort there is in describing yourself, or depicting "
"what you do, as a business. Not all who have endeavors Made with Creative "
"Commons use business speak; for some the process has been experimental, "
"emergent, and organic rather than carefully planned using a predefined model."
msgstr ""
"I intervjuene i vår studie uttrykte mange ubehag over å beskrive seg selv "
"som å ha en åpen forretningsmodell – begrepet forretningsmodell foreslo "
"primært å være plassert i markedet. Hvor du er plassert i spektret, fra "
"felleseie – til marked, påvirker i hvilken grad du ser deg selv som en "
"markedsbedrift. Jo mer sentralt for oppgaven delte ressurs- og "
"allemannseieverdiene er, jo mindre komfortabelt er det å beskrive seg, eller "
"vise til hva du gjør, som en bedrift. Ikke alle som har oppgaver laget med "
"Creative Commons bruker forretningsspråk; for noen har prosessen heller vært "
"eksperimentell, vokst frem og organisk snarere enn nøye planlagt ved hjelp "
"av en forhåndsdefinert modell."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1337
msgid ""
"A more comprehensive list of revenue streams is available in this post I "
"wrote on Medium on March 6, 2016. “What Is an Open Business Model and How "
"Can You Generate Revenue?”, available at <ulink url=\"http://medium.com/made-"
"with-creative-commons/what-is-an-open-business-model-and-how-can-you-"
"generate-revenue-5854d2659b15\"/>."
msgstr ""
"En mer omfattende liste over inntektsstrømmer er tilgjengelig i dette "
"innlegget jeg skrev på Medium på 6 mars 2016. “What Is an Open Business "
"Model and How Can You Generate Revenue?”, tilgjengelig på <ulink url="
"\"http://medium.com/made-with-creative-commons/what-is-an-open-business-"
"model-and-how-can-you-generate-revenue-5854d2659b15\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1329
msgid ""
"The creators, businesses, and organizations we profile all engage with the "
"market to generate revenue in some way. The ways in which this is done vary "
"widely. Donations, pay what you can, memberships, “digital for free but "
"physical for a fee,” crowdfunding, matchmaking, value-add services, "
"patrons . . . the list goes on and on. (Initial description of how to earn "
"revenue available through reference note. For latest thinking see How to "
"Bring In Money in the next section.)<placeholder type=\"footnote\" id=\"0\"/"
"> There is no single magic bullet, and each endeavor has devised ways that "
"work for them. Most make use of more than one way. Diversifying revenue "
"streams lowers risk and provides multiple paths to sustainability."
msgstr ""
"Bidragsyterne, bedrifter og organisasjoner vi profiler er alle engasjerte i "
"markedet for å generere inntekter på ulik måte. Hvordan dette gjøres "
"varierer mye. Donasjoner, betal hva du kan, medlemskap, «Digitalt gratis, "
"men fysisk for betaling», folkefinansiering, matchmaking, verdiøkende "
"tjenester, beskyttere  ... listen fortsetter og fortsetter. (Første "
"beskrivelse av hvordan skaffe inntekt fremgår av referansenoten. Om seneste "
"tenkning om dette,  se  «Hvordan bringe inn penger» i neste "
"seksjon.)<placeholder type=\"footnote\" id=\"0\"/> Det er ingen enkel, "
"magisk kule, og hver oppgave har utviklet måter som passer for den. De "
"fleste gjør bruk av mer enn én måte. Å diversifisere inntektsstrømmer "
"reduserer risikoen, og gir flere veier til bærekraft."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1349
msgid "Benefits of the Digital Commons"
msgstr "Fordelene med Digital Commons"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1351
msgid ""
"While it may be clear why commons-based organizations want to interact and "
"engage with the market (they need money to survive), it may be less obvious "
"why the market would engage with the commons. The digital commons offers "
"many benefits."
msgstr ""
"Mens det kan være klart hvorfor felleseie-baserte organisasjoner ønsker å "
"samhandle og engasjere seg med markedet (de trenger penger for å overleve), "
"kan det være mindre opplagt hvorfor markedet vil engasjere seg med "
"felleseier. Digitale allmenneier tilbyr mange fordeler."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1357
msgid ""
"The commons speeds dissemination. The free flow of resources in the commons "
"offers tremendous economies of scale. Distribution is decentralized, with "
"all those in the commons empowered to share the resources they have access "
"to. Those that are Made with Creative Commons have a reduced need for sales "
"or marketing. Decentralized distribution amplifies supply and know-how."
msgstr ""
"Felleseiene setter fart på formidlingen. Fri flyt av ressurser i felleseier "
"tilbyr enorme stordriftsfordeler. Distribusjon er desentralisert, når alle "
"de i felleseiet har myndighet til å dele ressursene de har tilgang til. Det "
"som er laget med Creative Commons har et redusert behov for salg eller "
"markedsføring. Desentralisert distribusjon forsterker leveranse og "
"ekspertise."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1366
msgid ""
"The commons ensures access to all. The market has traditionally operated by "
"putting resources behind a paywall requiring payment first before access. "
"The commons puts resources in the open, providing access up front without "
"payment. Those that are Made with Creative Commons make little or no use of "
"digital rights management (DRM) to manage resources. Not using DRM frees "
"them of the costs of acquiring DRM technology and staff resources to engage "
"in the punitive practices associated with restricting access. The way the "
"commons provides access to everyone levels the playing field and promotes "
"inclusiveness, equity, and fairness."
msgstr ""
"Commons sikrer alle tilgang. Markedets tradisjon har vært å betalingsmure "
"inn ressurser, betaling før tilgang. Felleseie åpner ressurstilgangen, "
"umiddelbar tilgang uten betaling. Laget med Creative Commons gjør lite eller "
"ingen bruk av digital tilgangsnekting (DRM – digital rights management) til "
"ressursbakstreveri.  Ved ikke å bruke DRM frigjøres kostnadene ved å "
"anskaffe DRM-teknologi og arbeidsressurser til  ervervelse av "
"straffepraksisinformasjon knyttet til adgangsbegrensning. Måten fellesskapet "
"gir tilgang til alle, gir alle én spade, fremmer inkludering, rettferdighet "
"og redelighet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1379
msgid ""
"The commons maximizes participation. Resources in the commons can be used "
"and contributed to by everyone. Using the resources of others, contributing "
"your own, and mixing yours with others to create new works are all dynamic "
"forms of participation made possible by the commons. Being Made with "
"Creative Commons means you’re engaging as many users with your resources as "
"possible.  Users are also authoring, editing, remixing, curating, "
"localizing, translating, and distributing. The commons makes it possible for "
"people to directly participate in culture, knowledge building, and even "
"democracy, and many other socially beneficial practices."
msgstr ""
"Allemannseie er deltagelsens seiersgang. Ressurser i felleseie kan brukes, "
"og er åpne for medvirkning av og med alle. Å bruke andres ressurser, bidra "
"med eget, og blande med andres for å skape nye arbeider, er alle dynamiske "
"former for deltakelse muliggjort av allmenningen. Laget med Creative Commons "
"betyr engasjering av så mange brukere av ressursene dine som mulig. Brukerne "
"godkjenner, redigerer, remikser, retter, lokaliserer, oversetter og "
"distribuerer. Felleseie gjør det mulig for folk å delta direkte i kulturer, "
"kunnskapsbygging, til og med demokrati, og mange andre former for "
"samfunnsnyttig praksis."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1401
msgid ""
"Henry Chesbrough, Open Innovation: The New Imperative for Creating and "
"Profiting from Technology (Boston: Harvard Business Review Press, 2006), 31–"
"44."
msgstr ""
"Henry Chesbrough, Open Innovation: The New Imperative for Creating and "
"Profiting from Technology (Boston: Harvard Business Review Press, 2006), 31–"
"44."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1392
msgid ""
"The commons spurs innovation. Resources in the hands of more people who can "
"use them leads to new ideas. The way commons resources can be modified, "
"customized, and improved results in derivative works never imagined by the "
"original creator. Some endeavors that are Made with Creative Commons "
"deliberately encourage users to take the resources being shared and innovate "
"them. Doing so moves research and development (R&amp;D) from being solely "
"inside the organization to being in the community.<placeholder type="
"\"footnote\" id=\"0\"/> Community-based innovation will keep an organization "
"or business on its toes. It must continue to contribute new ideas, absorb "
"and build on top of the innovations of others, and steward the resources and "
"the relationship with the community."
msgstr ""
"Allemannseie leder an til innovasjon. Ressurser flere personer i hende, som "
"evner å nytte dem, fører nye ideer med seg. Måten felleseide ressurser kan "
"endre, tilpasse, og bedrede resultatene i avledninger muliggjør arbeider "
"opphavsmannen aldri hadde forestilt seg. Noen bestrebelser i Creative "
"Commons oppfordrer bevisst brukere fornyelse av delte ressurser. Dermed "
"flyttes forskning og utvikling (R&amp;D – research and development) fra "
"utelukkende innlemmet organisasjonens virke, til fellesskapet.<placeholder "
"type=\"footnote\" id=\"0\"/>  Fellesskapsbasert innovasjon holder en "
"organisasjon eller virksomhet skjerpet. Den må fortsette å bidra med nye "
"idéer, absorbere og bygge videre på andres innovasjoner, forvalte ressursene "
"og forholdet til fellesskapet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1410
msgid ""
"The commons boosts reach and impact. The digital commons is global. "
"Resources may be created for a local or regional need, but they go far and "
"wide generating a global impact. In the digital world, there are no borders "
"between countries. When you are Made with Creative Commons, you are often "
"local and global at the same time: Digital designs being globally "
"distributed but made and manufactured locally. Digital books or music being "
"globally distributed but readings and concerts performed locally. The "
"digital commons magnifies impact by connecting creators to those who use and "
"build on their work both locally and globally."
msgstr ""
"Allemannseie øker rekkevidden og slagkraften av den. Digitalallmenningen er "
"verdensomspennende.  Ressurser kan opprettes for lokale eller regionale "
"behov, men favne vidt og bredt, og generere en global effekt. I den digitale "
"verden er det ingen grenser landene imellom. Made with Creative Commons, "
"ofte både lokal og global: Digital design distribuert globalt, men laget og "
"produsert lokalt. Digitale bøker eller musikk distribuert globalt, men "
"opplest og fremført lokalt. Digitale felleseier øker virkningen ved å koble "
"bidragsyterne allesteds hen, til dem som bruker og bygger videre på deres "
"arbeide."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1423
msgid ""
"The commons is generative. Instead of extracting value, the commons adds "
"value. Digitized resources persist without becoming depleted, and through "
"use are improved, personalized, and localized. Each use adds value. The "
"market focuses on generating value for the business and the customer. The "
"commons generates value for a broader range of beneficiaries including the "
"business, the customer, the creator, the public, and the commons itself. The "
"generative nature of the commons means that it is more cost-effective and "
"produces a greater return on investment.  Value is not just measured in "
"financial terms. Each new resource added to the commons provides value to "
"the public and contributes to the overall value of the commons."
msgstr ""
"Allmannseie er generativt. I stedet for å hente ut ut verdi, tilfører "
"allemannseie verdi. Digitaliserte ressurser blir ikke oppbrukt, men er der "
"fortsatt – og blir forbedret, gjort personlig og tilpasset lokale forhold "
"ved bruk. Hvert type bruk tilfører verdi. Markedet har fokus på å generere "
"verdi for virksomheten og kunden. Allemannseie genererer verdi for et "
"bredere spekter av mottakere inkludert virksomheten, forbrukeren, "
"innholdsleverandøren, publikum og allemannseiet selv. Allemannseiets "
"generative natur betyr at det er mer kostnadseffektivt, og gir en høyere "
"avkastning på investeringen. Verdi er ikke bare målt finansielt. Hver ny "
"ressurs som legges til allmenningen gir verdi til publikum, og bidrar til "
"den samlede verdien av allemannseiet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1437
msgid ""
"The commons brings people together for a common cause. The commons vests "
"people directly with the responsibility to manage the resources for the "
"common good. The costs and benefits for the individual are balanced with the "
"costs and benefits for the community and for future generations. Resources "
"are not anonymous or mass produced. Their provenance is known and "
"acknowledged through attribution and other means. Those that are Made with "
"Creative Commons generate awareness and reputation based on their "
"contributions to the commons. The reach, impact, and sustainability of those "
"contributions rest largely on their ability to forge relationships and "
"connections with those who use and improve them. By functioning on the basis "
"of social engagement, not monetary exchange, the commons unifies people."
msgstr ""
"Allemannseier fører folk sammen for en felles sak. Allmannseier binder folk "
"sammen om ansvaret for å administrere ressursene som et felles gode. "
"Kostnader og fordeler for den enkelte balanseres med kostnader og fordeler "
"for samfunnet og for fremtidige generasjoner. Ressursene er ikke anonyme "
"eller masseproduserte. Opprinnelse er kjent og anerkjent gjennom "
"henvisninger og andre virkemidler. De som er laget med Creative Commons "
"genererer oppmerksomhet og omdømme basert på deres bidrag til fellesskapet. "
"Innflytelsen og bærekraften til disse bidragene hviler i stor grad på deres "
"evne til å etablere relasjoner og forbindelser med dem som bruker og "
"forbedrer dem. Allemannseie forener folk ved å virke ut fra sitt sosiale "
"engasjement, ikke ved utveksling av penger."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1452
msgid ""
"The benefits of the commons are many. When these benefits align with the "
"goals of individuals, communities, businesses in the market, or state "
"enterprises, choosing to manage resources as a commons ought to be the "
"option of choice."
msgstr ""
"Allmenningsfordelene er mange. Når disse knyttes sammen med enkeltpersoners "
"mål, samfunn, bedrifter i markedet, eller statlige virksomheter, burde det å "
"administrere ressurser som i felleseie være det klare alternativet."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1459
msgid "Our Case Studies"
msgstr "Våre referansestudier"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1461
msgid ""
"The creators, organizations, and businesses in our case studies operate as "
"nonprofits, for-profits, and social enterprises.  Regardless of legal "
"status, they all have a social mission.  Their primary reason for being is "
"to make the world a better place, not to profit. Money is a means to a "
"social end, not the end itself. They factor public interest into decisions, "
"behavior, and practices. Transparency and trust are really important. Impact "
"and success are measured against social aims expressed in mission "
"statements, and are not just about the financial bottom line."
msgstr ""
"I våre referanseløsninger opererer innholdsleverandører, organisasjoner og "
"bedrifter både som ideelle eller inntektsgivende organisasjoner, og som "
"sosiale foretak. Uansett rettslig status har de alle sosiale oppdrag. Deres "
"viktigste grunn til å være til, er å gjøre verden til et bedre sted, ikke "
"for fortjenesten. Penger er et middel til å nå sosiale mål, og er ikke selv "
"sluttmålet. De produserer en offentlig interesse for beslutninger, atferd og "
"praksis. Transparens (åpenhet) og tillit er svært viktig. Virkning og "
"suksess måles mot sosiale mål uttrykt i idégrunnlaget, og gjelder ikke bare "
"den finansielle bunnlinjen."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1473
msgid ""
"The case studies are based on the narratives told to us by founders and key "
"staff. Instead of solely using financials as the measure of success and "
"sustainability, they emphasized their mission, practices, and means by which "
"they measure success.  Metrics of success are a blend of how social goals "
"are being met and how sustainable the enterprise is."
msgstr ""
"Referansestudiene er basert på fortellingene vi ble fortalt av grunnleggere "
"og nøkkelpersoner. I stedet for utelukkende å ha økonomi som mål på suksess "
"og bærekraft, understreket de sin oppgave, praksis og metodene som de måler "
"suksess etter. Beregninger av suksess er en blanding av hvordan sosiale mål "
"er nådd, og hvor bærekraftig organisasjonen er."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1481
msgid ""
"Our case studies are diverse, ranging from publishing to education and "
"manufacturing. All of the organizations, businesses, and creators in the "
"case studies produce digital resources. Those resources exist in many forms "
"including books, designs, songs, research, data, cultural works, education "
"materials, graphic icons, and video. Some are digital representations of "
"physical resources. Others are born digital but can be made into physical "
"resources."
msgstr ""
"Våre referansestudier er mangfoldige, og spenner fra publisering – til "
"utdanning og produksjon. Alle organisasjoner, bedrifter, og "
"innholdsleverandører i studiene produserer digitale ressurser. Disse "
"ressursene finnes i mange former, inkludert bøker, design, sanger, "
"forskning, data, kulturelle uttrykk, undervisningsmateriell, grafiske ikoner "
"og video. Noen er digitale representasjoner av fysiske ressurser. Andre er "
"opprinnelig digitale, men kan gjøres til fysiske ressurser."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1491
msgid ""
"They are creating new resources, or using the resources of others, or mixing "
"existing resources together to make something new. They, and their audience, "
"all play a direct, participatory role in managing those resources, including "
"their preservation, curation, distribution, and enhancement. Access and "
"participation is open to all regardless of monetary means."
msgstr ""
"De skaper nye ressurser, eller bruker andres ressurser, eller kombinerer "
"eksisterende ressurser for å lage noe nytt. De, og deres publikum, har alle "
"en direkte, deltakende rolle i å håndtere disse ressursene, inkludert å ta "
"vare på, bevare, distribuere og forbedre. Tilgang og deltakelse er åpen for "
"alle uavhengig av økonomiske midler."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1499
msgid ""
"And as users of Creative Commons licenses, they are automatically part of a "
"global community. The new digital commons is global. Those we profiled come "
"from nearly every continent in the world. To build and interact within this "
"global community is conducive to success."
msgstr ""
"Som brukere av Creative Commons-lisenser, er de automatisk en del av et "
"globalt samfunn. De nye digitale allmenneiene er globale. De vi har løftet "
"frem, kommer fra nesten alle verdens kontinenter. Å bygge og samhandle i "
"dette globale samfunnet leder til suksess."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1506
msgid ""
"Creative Commons licenses may express legal rules around the use of "
"resources in a commons, but success in the commons requires more than "
"following the letter of the law and acquiring financial means. Over and over "
"we heard in our interviews how success and sustainability are tied to a set "
"of beliefs, values, and principles that underlie their actions: Give more "
"than you take. Be open and inclusive. Add value. Make visible what you are "
"using from the commons, what you are adding, and what you are monetizing. "
"Maximize abundance. Give attribution. Express gratitude. Develop trust; "
"don’t exploit. Build relationship and community. Be transparent. Defend the "
"commons."
msgstr ""
"Creative Commons-lisenser kan uttrykke juridiske regler rundt bruken av "
"ressurser i en allmenning, men suksess i felleseier krever mer enn å følge "
"lovens bokstav og skaffe økonomiske midler. Igjen og igjen hørte vi i våre "
"intervjuer hvordan suksess og bærekraft er knyttet til et sett av tro, "
"verdier og prinsipper som ligger til grunn for deres handlinger: Gi mer enn "
"du tar. Være åpen og inkluderende. Legge til verdi. Gjør synlig hva du "
"bruker fra felleseier, og hva du legger til, og hva som er økonomisk. "
"Maksimere overfloden. Henvis. Vis takknemlighet. Utvikle tillit; ikke "
"utnytt. Bygg relasjoner og samfunn. Være transparent (åpen). Forsvar "
"allmenneier."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1519
msgid ""
"The new digital commons is here to stay. Made With Creative Commons case "
"studies show how it’s possible to be part of this commons while still "
"functioning within market and state systems.  The commons generates benefits "
"neither the market nor state can achieve on their own. Rather than the "
"market or state dominating as primary means of resource management, a more "
"balanced alternative is possible."
msgstr ""
"Nye digitale felleseier er her for å bli. Referansestudiene om Made with "
"Creative Commons viser hvordan det er mulig å være del av dette felleseiet "
"mens en fortsatt er i markedet og i statlige systemer. Allmenneie genererer "
"fordeler verken markedet eller staten kan oppnå på egen hånd. Heller enn at "
"markedet eller staten dominerer som primærinstans for ressursforvaltning, så "
"er et mer balansert alternativ mulig."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1528
msgid ""
"Enterprise use of Creative Commons has only just begun. The case studies in "
"this book are merely starting points. Each is changing and evolving over "
"time. Many more are joining and inventing new models. This overview aims to "
"provide a framework and language for thinking and talking about the new "
"digital commons. The remaining sections go deeper providing further guidance "
"and insights on how it works."
msgstr ""
"Bedriftenes bruk av Creative Commons har bare såvidt begynt. Case-studiene i "
"denne boken er bare startpunktet. De er i endring, og utvikles over tid. "
"Mange kommer med, og finner nye modeller. Denne oversikten har som mål å gi "
"rammeverk og språk for å tenke og snakke om nye digitale felleseier. De "
"påfølgende kapitlene går dypere inn, og gir ytterligere veiledning og "
"innsikt i hvordan dette virker."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1539
msgid "How to Be Made with Creative Commons"
msgstr "Hvordan bli laget med Creative Commons"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1541
msgid "Sarah Hinchliff Pearson"
msgstr "Sarah Hinchliff Pearson"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1544
msgid ""
"When we began this project in August 2015, we set out to write a book about "
"business models that involve Creative Commons licenses in some significant "
"way—what we call being Made with Creative Commons. With the help of our "
"Kickstarter backers, we chose twenty-four endeavors from all around the "
"world that are Made with Creative Commons. The mix is diverse, from an "
"individual musician to a university-textbook publisher to an electronics "
"manufacturer.  Some make their own content and share under Creative Commons "
"licensing. Others are platforms for CC-licensed creative work made by "
"others. Many sit somewhere in between, both using and contributing creative "
"work that’s shared with the public. Like all who use the licenses, these "
"endeavors share their work—whether it’s open data or furniture designs—in a "
"way that enables the public not only to access it but also to make use of it."
msgstr ""
"Da vi startet dette prosjektet i August 2015, startet vi for å skrive en bok "
"om forretningsmodeller som i noe omfang involverer Creative Commons-lisenser "
"– det vi kaller Made with Creative Commons. Ved hjelp av våre Kickstarter-"
"støttespillere valgte vi tjuefire arbeidsopplegg fra hele verden laget med "
"Creative Commons. Blandingen er variert, fra en enkelt musiker til en "
"utgiver av lærebøker for universitetet, over til en elektronikkprodusent. "
"Noen lager sitt eget innhold og deler under Creative Commons-lisensiering. "
"Andre er plattformer for CC-lisensierte kreative arbeider gjort av andre. "
"Mange sitter et sted imellom både som bruker og som bidragsyter til skapende "
"arbeid som er delt med offentligheten. Som for alle som bruker lisensene, er "
"disse oppleggene for å dele sitt arbeid – enten det er åpne dataprogrammer "
"eller møbeldesign – på en måte som gjør at offentligheten ikke bare å får "
"tilgang til dem, men også å kan bruke dem."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1560
msgid ""
"We analyzed the revenue models, customer segments, and value propositions of "
"each endeavor. We searched for ways that putting their content under "
"Creative Commons licenses helped boost sales or increase reach. Using "
"traditional measures of economic success, we tried to map these business "
"models in a way that meaningfully incorporated the impact of Creative "
"Commons. In our interviews, we dug into the motivations, the role of CC "
"licenses, modes of revenue generation, definitions of success."
msgstr ""
"Vi analyserte inntektsmodeller, kundesegmenter og forslag til verdier for "
"hver oppgave. Vi søkte etter måter som, ved å sette innholdet under Creative "
"Commons-lisenser, hjalp til å øke salget eller øke utbredelsen. Ved å  bruke "
"tradisjonelle tiltak for økonomisk suksess, prøvde vi å kartlegge disse "
"forretningsmodellene på en måte slik at de meningsfullt  inneholdt en "
"hensiktsmessig innvirkning av Creative Commons. I våre intervjuer gikk vi "
"inn i motivasjonen, rollen CC til lisenser, ulike former for inntekter, og "
"definisjoner av suksess."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1570
msgid ""
"In fairly short order, we realized the book we set out to write was quite "
"different from the one that was revealing itself in our interviews and "
"research."
msgstr ""
"På relativt kort tid skjønte vi at boken vi gikk ut for å skrive, var ganske "
"forskjellig fra den som dukket frem i våre intervjuer og forskning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1575
msgid ""
"It isn’t that we were wrong to think you can make money while using Creative "
"Commons licenses. In many instances, CC can help make you more money. Nor "
"were we wrong that there are business models out there that others who want "
"to use CC licensing as part of their livelihood or business could replicate. "
"What we didn’t realize was just how misguided it would be to write a book "
"about being Made with Creative Commons using only a business lens."
msgstr ""
"Det var  ikke for at vi tok feil i å tro at du kan tjene penger når du "
"bruker Creative Commons-lisenser. I mange tilfeller hjelper CC til å tjene "
"mer penger. Heller ikke tok vi feil i at det er forretningsmodeller der ute "
"som andre, som ønsker å bruke CC-lisenser som en del av sitt levebrød eller "
"sin bedrift, kan benytte. Hva vi skjønte var hvor misforstått det ville være "
"å skrive en bok om Made with Creative Commons, og bare bruke "
"forretningsvirksomhet som fokus."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1587
msgid ""
"Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010), 14. A preview of the book is available at <ulink "
"url=\"http://strategyzer.com/books/business-model-generation\"/>."
msgstr ""
"Alex Osterwalder og Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010), 14. En forhåndsvisning av boken er tilgjengelig "
"på <ulink url=\"http://strategyzer.com/books/business-model-generation\"/>."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1584
msgid ""
"According to the seminal handbook Business Model Generation, a business "
"model “describes the rationale of how an organization creates, delivers, and "
"captures value.”<placeholder type=\"footnote\" id=\"0\"/> Thinking about "
"sharing in terms of creating and capturing value always felt inappropriately "
"transactional and out of place, something we heard time and time again in "
"our interviews. And as Cory Doctorow told us in our interview with him, "
"“Business model can mean anything you want it to mean.”"
msgstr ""
"Ifølge den banebrytende håndboken Business Model Generation, en "
"forretningsmodell som «beskriver begrunnelsen for hvordan en organisasjon "
"skaper, leverer og fanger inn verdi.»<placeholder type=\"footnote\" id=\"0\"/"
"> Tenking om deling i betydningen å skape og fange inn verdier, føltes "
"alltid uriktig transaksjonsbasert og malplassert, noe vi hørte gang på gang "
"i våre intervjuer. Og som Cory Doctorow fortalte oss i vårt intervju med "
"ham, «forretningsmodell kan bety alt dere mener det skal bety.»"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1598
msgid ""
"Eventually, we got it. Being Made with Creative Commons is more than a "
"business model. While we will talk about specific revenue models as one "
"piece of our analysis (and in more detail in the case studies), we scrapped "
"that as our guiding rubric for the book."
msgstr ""
"Til slutt fikk vi det inn. Made with Creative Commons er mer enn en "
"forretningsmodell. Mens vi vil snakke om bestemte inntektsmodeller som en "
"del av vår analyse (og mer detaljert i referansestudiene), skrotet vi det "
"som som vår styrende overskrift for boken."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1605
msgid ""
"Admittedly, it took me a long time to get there. When Paul and I divided up "
"our writing after finishing the research, my charge was to distill "
"everything we learned from the case studies and write up the practical "
"lessons and takeaways. I spent months trying to jam what we learned into the "
"business-model box, convinced there must be some formula for the way things "
"interacted. But there is no formula. You’ll probably have to discard that "
"way of thinking before you read any further."
msgstr ""
"Riktignok er tok det lang tid for meg å komme dit. Når Paul og jeg delte opp "
"vår skriving etter avsluttet forskning, var mitt ansvar å løfte frem alt vi "
"lærte fra referansestudiene, og skrive opp praktiske leksjoner og snarveier. "
"Jeg tilbrakte måneder med å prøve å få frem det vi lærte i boksen for "
"forretningsmodell, overbevist om det var en formel for hvordan ting hang "
"sammen. Men det var ingen formel. Du vil sannsynligvis måtte forkaste den "
"måten å tenke på før du leser videre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1615
msgid ""
"In every interview, we started from the same simple questions.  Amid all the "
"diversity among the creators, organizations, and businesses we profiled, "
"there was one constant. Being Made with Creative Commons may be good for "
"business, but that is not why they do it. Sharing work with Creative Commons "
"is, at its core, a moral decision. The commercial and other self-interested "
"benefits are secondary. Most decided to use CC licenses first and found a "
"revenue model later. This was our first hint that writing a book solely "
"about the impact of sharing on business might be a little off track."
msgstr ""
"I hvert intervju startet vi med de samme enkle spørsmålene. Blant alle "
"variasjonene hos bidragsytere, organisasjoner og bedrifter vi gjennomgikk, "
"var det en konstant. Made with Creative Commons kan være bra for "
"forretningen, men det er ikke derfor de gjør det. Å dele arbeidet med "
"Creative Commons, er i bunn og grunn en moralsk beslutning. Kommersielle og "
"andre fordeler i egeninteresse er sekundære. De fleste besluttet å bruke CC-"
"lisenser først, og fant en inntektsmodell senere. Dette var vårt første "
"hint, at å skrive en bok bare om virkningen av deling i ett "
"forretningsperspektiv, kan være litt utenfor sporet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1627
msgid ""
"But we also started to realize something about what it means to be Made with "
"Creative Commons. When people talked to us about how and why they used CC, "
"it was clear that it meant something more than using a copyright license. It "
"also represented a set of values.  There is symbolism behind using CC, and "
"that symbolism has many layers."
msgstr ""
"Men vi har også begynt å innse noe om hva det betyr å være Made with "
"Creative Commons. Når folk snakket med oss om hvordan og hvorfor de brukte "
"CC, ble det klart at det betydde noe mer enn å bruke en lisens for "
"opphavsrett. Det representerte også et verdisett. Det er symbolikk bak å "
"bruke CC, og den symbolikken har mange lag."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1635
msgid ""
"At one level, being Made with Creative Commons expresses an affinity for the "
"value of Creative Commons. While there are many different flavors of CC "
"licenses and nearly infinite ways to be Made with Creative Commons, the "
"basic value system is rooted in a fundamental belief that knowledge and "
"creativity are building blocks of our culture rather than just commodities "
"from which to extract market value. These values reflect a belief that the "
"common good should always be part of the equation when we determine how to "
"regulate our cultural outputs. They reflect a belief that everyone has "
"something to contribute, and that no one can own our shared culture. They "
"reflect a belief in the promise of sharing."
msgstr ""
"På ett nivå uttrykker Made with Creative Commons en tilknytning for verdien "
"av Creative Commons. Mens det er mange forskjellige variasjoner av CC-"
"lisenser, og nesten uendelige måter for å være Made with Creative Commons, "
"er det grunnleggende verdisystemet forankret i en grunnleggende tro på at "
"kunnskap og kreativitet er byggesteinene i vår kultur, heller enn bare varer "
"som har en markedsverdi som gir inntekt. Disse verdiene gjenspeiler troen på "
"at fellesgodet alltid bør være en del av sammenhengen når vi bestemmer "
"hvordan vi regulerer vår kulturelle produksjon. De gjenspeiler en tro på at "
"alle har noe å bidra med, og at ingen kan eie vår felles kultur. De "
"gjenspeiler en tro på løftet om å dele."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1649
msgid ""
"Whether the public makes use of the opportunity to copy and adapt your work, "
"sharing with a Creative Commons license is a symbol of how you want to "
"interact with the people who consume your work.  Whenever you create "
"something, “all rights reserved” under copyright is automatic, so the "
"copyright symbol (©) on the work does not necessarily come across as a "
"marker of distrust or excessive protectionism. But using a CC license can be "
"a symbol of the opposite—of wanting a real human relationship, rather than "
"an impersonal market transaction. It leaves open the possibility of "
"connection."
msgstr ""
"Om publikum gjør bruk av muligheten til å kopiere og tilpasse sitt arbeid, "
"er å dele med en Creative Commons-lisens et symbol på hvordan du skal "
"kommunisere med personer som bruker ditt arbeidet. Når du oppretter noe, er "
"«alle rettigheter reservert» med opphavsrett automatisk, så "
"opphavsrettsymbolet (©) på arbeidet formidles ikke nødvendigvis som en "
"markør av mistro eller overdreven proteksjonisme. Men å bruke en CC-lisens "
"kan være et symbol på det motsatte – av at en ønsker en ekte menneskelig "
"relasjon, i stedet for en upersonlig markedstransaksjon. Det etterlater en "
"åpen mulighet for forbindelse."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1661
msgid ""
"Being Made with Creative Commons not only demonstrates values connected to "
"CC and sharing. It also demonstrates that something other than profit drives "
"what you do. In our interviews, we always asked what success looked like for "
"them. It was stunning how rarely money was mentioned. Most have a deeper "
"purpose and a different vision of success."
msgstr ""
"Made with Creative Commons viser ikke bare verdiene med CC og å dele. Det "
"viser også at noe annet enn at profitt driver hva man gjør. I våre "
"intervjuer spurte vi alltid hva suksess var for dem. Det var overraskende "
"hvor sjelden penger ble nevnt. De fleste har en dypere hensikt, og et annet "
"syn på suksess."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1674
msgid ""
"Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet "
"Age (San Francisco, CA: McSweeney’s, 2014) 68."
msgstr ""
"Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet "
"Age (San Francisco, CA: McSweeney’s, 2014) 68."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1669
msgid ""
"The driving motivation varies depending on the type of endeavor.  For "
"individual creators, it is most often about personal inspiration. In some "
"ways, this is nothing new. As Doctorow has written, “Creators usually start "
"doing what they do for love.”<placeholder type=\"footnote\" id=\"0\"/> But "
"when you share your creative work under a CC license, that dynamic is even "
"more pronounced. Similarly, for technological innovators, it is often less "
"about creating a specific new thing that will make you rich and more about "
"solving a specific problem you have. The creators of Arduino told us that "
"the key question when creating something is “Do you as the creator want to "
"use it? It has to have personal use and meaning.”"
msgstr ""
"Motivasjonen varierer avhengig av hva en skal oppnå. For individuelle "
"innholdsleverandører er det oftest en personlig inspirasjon. På noen måter "
"er dette ikke noe nytt. Som Doctorow har skrevet, «skapere starter vanligvis "
"å gjøre hva de gjør av kjærlighet».<placeholder type=\"footnote\" id=\"0\"/"
">  Men når du deler ditt skapende arbeid under en CC-lisens, er denne "
"dynamikken enda mer uttalt.  Tilsvarende for teknologiske innovatører "
"gjelder det ofte mindre å skape en bestemt ny ting som vil gjøre deg rik, "
"men mer om å løse et bestemt problem du har. Skaperne av Arduino fortalte "
"oss at de viktigste spørsmålet når du oppretter noe er «vil du som lager "
"det, bruke det? Det må ha en personlig bruk og betydning.»"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1685
msgid ""
"Many that are Made with Creative Commons have an express social mission that "
"underpins everything they do. In many cases, sharing with Creative Commons "
"expressly advances that social mission, and using the licenses can be the "
"difference between legitimacy and hypocrisy. Noun Project co-founder Edward "
"Boatman told us they could not have stated their social mission of sharing "
"with a straight face if they weren’t willing to show the world that it was "
"OK to share their content using a Creative Commons license."
msgstr ""
"Mange som bruker Made with Creative Commons har et uttrykt sosialt formål "
"som underbygger alt de gjør. I mange tilfeller gir å dele med Creative "
"Commons klare fremskritt for dette sosiale formålet, og å bruke lisensene "
"kan være forskjellen mellom legitimitet og hykleri. Medgrunnlegger Edward "
"Boatman i Noun Project fortalte at de ikke kunne ha formulert sitt "
"samfunnsoppdrag med å dele  «with a straight face» («holde masken» )hvis de "
"ikke var villig til å vise verden at det var OK å dele innholdet med en "
"Creative Commons-lisens."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1695
msgid ""
"This dynamic is probably one reason why there are so many nonprofit examples "
"of being Made with Creative Commons. The content is the result of a labor of "
"love or a tool to drive social change, and money is like gas in the car, "
"something that you need to keep going but not an end in itself. Being Made "
"with Creative Commons is a different vision of a business or livelihood, "
"where profit is not paramount, and producing social good and human "
"connection are integral to success."
msgstr ""
"Denne dynamikken er nok en grunn til hvorfor det er så mange nonprofit "
"eksempler på Made with Creative Commons. Innholdet er resultatet av en "
"innsats en føler mye for, eller et verktøy for å oppnå sosial endring, og "
"penger er som gassen i bilen, noe som du må holde i gang, men som ikke er et "
"mål i seg selv. Made with Creative Commons er et annet syn på en bedrift "
"eller et levebrød, der profitt ikke er avgjørende, men å produsere et sosial "
"gode og menneskelig tilknytning er en integrert del for å oppnå suksess."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1705
msgid ""
"Even if profit isn’t the end goal, you have to bring in money to be "
"successfully Made with Creative Commons. At a bare minimum, you have to make "
"enough money to keep the lights on."
msgstr ""
"Selv om profitt ikke er sluttmålet, må det bringes penger inn for å være "
"velykket med Made with Creative Commons. Som et absolutt minimum må du tjene "
"nok til å holde lysene påslått."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1710
msgid ""
"The costs of doing business vary widely for those made with CC, but there is "
"generally a much lower threshold for sustainability than there used to be "
"for any creative endeavor. Digital technology has made it easier than ever "
"to create, and easier than ever to distribute. As Doctorow put it in his "
"book Information Doesn’t Want to Be Free, “If analog dollars have turned "
"into digital dimes (as the critics of ad-supported media have it), there is "
"the fact that it’s possible to run a business that gets the same amount of "
"advertising as its forebears at a fraction of the price.”"
msgstr ""
"Kostnadene for å gjøre forretninger varierer ved bruk av CC, men det er "
"vanligvis en mye lavere terskel for lønnsomhet enn det pleide å være for "
"kreative innsatser. Digital teknologi har gjort det enklere enn noensinne å "
"lage, og enklere enn noensinne å distribuere. Som Doctorow skrev i sin bok "
"«Information Doesn’t Want to Be Free»: «Hvis analoge dollar har snudd til "
"digitale skillemynt (som kritikere av annonsestøttede media vil ha det til), "
"er det det et faktum at det er mulig å drive en forretning som får samme "
"mengde reklame som sine forgjengere til en brøkdel av prisen.»"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1727
msgid "Ibid., 55."
msgstr "Ibid., 55."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1722
msgid ""
"Some creation costs are the same as they always were. It takes the same "
"amount of time and money to write a peer-reviewed journal article or paint a "
"painting. Technology can’t change that. But other costs are dramatically "
"reduced by technology, particularly in production-heavy domains like "
"filmmaking.<placeholder type=\"footnote\" id=\"0\"/> CC-licensed content and "
"content in the public domain, as well as the work of volunteer "
"collaborators, can also dramatically reduce costs if they’re being used as "
"resources to create something new. And, of course, there is the reality that "
"some content would be created whether or not the creator is paid because it "
"is a labor of love."
msgstr ""
"Noen igangsettingskostnader er de samme som de alltid har vært. Det tar like "
"mye tid og penger til å skrive en fagfellevurdert tidsskriftsartikkel ,eller "
"male et maleri. Teknologi endrer ikke på det. Men andre kostnader er "
"dramatisk redusert med teknologi, særlig i produksjonstunge områder som "
"filmproduksjon.<placeholder type=\"footnote\" id=\"0\"/> CC-lisensiert "
"innhold og innhold i den offentlige sfæren, samt arbeidet til frivillige "
"samarbeidspartnere, kan også redusere kostnader hvis de brukes som ressurser "
"til å lage noe nytt. Og, selvfølgelig, det er realiteten at noe innhold "
"lages enten den som lager det blir betalt eller ikke, fordi det lages ut fra "
"overbevisning."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1739
msgid ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface (New York: Hyperion, 2010), "
"224."
msgstr ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface (New York: Hyperion, 2010), "
"224."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1736
msgid ""
"Distributing content is almost universally cheaper than ever. Once content "
"is created, the costs to distribute copies digitally are essentially zero."
"<placeholder type=\"footnote\" id=\"0\"/> The costs to distribute physical "
"copies are still significant, but lower than they have been historically. "
"And it is now much easier to print and distribute physical copies on-demand, "
"which also reduces costs. Depending on the endeavor, there can be a whole "
"host of other possible expenses like marketing and promotion, and even "
"expenses associated with the various ways money is being made, like touring "
"or custom training."
msgstr ""
"Å distribuere innhold er nesten universelt billigere enn noensinne. Når "
"innhold er laget, er kostnadene ved å distribuere kopier digitalt egentlig "
"null.<placeholder type=\"footnote\" id=\"0\"/> Kostnadene til å distribuere "
"fysiske kopier er fortsatt betydelige, men lavere enn de har vært historisk "
"sett. Og det er nå mye enklere å skrive ut og distribuere fysiske kopier på "
"forespørsel, noe som også reduserer kostnadene. Avhengig av oppgaven kan det "
"være en hel rekke andre utgifter som markedsføring og promotering, og selv "
"utgifter forbundet med ulike måter pengene kommer inn på, som reising eller "
"tilpasset opplæring."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1761
msgid "Doctorow, Information Doesn’t Want to Be Free, 44."
msgstr "Doctorow, Information Doesn’t Want to Be Free, 44."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1751
msgid ""
"It’s important to recognize that the biggest impact of technology on "
"creative endeavors is that creators can now foot the costs of creation and "
"distribution themselves. People now often have a direct route to their "
"potential public without necessarily needing intermediaries like record "
"labels and book publishers. Doctorow wrote, “If you’re a creator who never "
"got the time of day from one of the great imperial powers, this is your "
"time. Where once you had no means of reaching an audience without the "
"assistance of the industry-dominating megacompanies, now you have hundreds "
"of ways to do it without them.”<placeholder type=\"footnote\" id=\"0\"/> "
"Previously, distribution of creative work involved the costs associated with "
"sustaining a monolithic entity, now creators can do the work themselves. "
"That means the financial needs of creative endeavors can be a lot more "
"modest."
msgstr ""
"Det er viktig å innse at den største effekten av teknologi for kreative "
"oppgaver er at bidragsyterne nå selv kan stå for kostnadene for å utføre "
"oppgaven og distribusjonen. Ofte har folk selv nå en direkte rute til sitt "
"potensielle publikum uten nødvendigvis å trenge mellomledd som "
"plateselskaper og bokutgivere. Doctorow skrev, «Hvis du er en "
"innholdsleverandør som aldri fikk et klokkeslett fra en av de store "
"imperialistiske maktene, er dette din tid. Der du en gang  ikke hadde noen "
"mulighet til å nå ut til et publikum uten hjelp av industri-dominerte "
"megaselskaper, har du nå hundrevis av måter å gjøre det på uten dem»."
"<placeholder type=\"footnote\" id=\"0\"/> Tidligere innebar distribusjon av "
"skapende arbeid kostnadene knyttet til å opprettholde en monolittisk enhet, "
"nå kan skaperne gjøre dette arbeidet selv. Det betyr at de finansielle "
"forutsetningene for kreativt innhold kan være mye mer beskjedne."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1768
msgid ""
"Whether for an individual creator or a larger endeavor, it usually isn’t "
"enough to break even if you want to make what you’re doing a livelihood. You "
"need to build in some support for the general operation. This extra bit "
"looks different for everyone, but importantly, in nearly all cases for those "
"Made with Creative Commons, the definition of “enough money” looks a lot "
"different than it does in the world of venture capital and stock options. It "
"is more about sustainability and less about unlimited growth and profit. "
"SparkFun founder Nathan Seidle told us, “Business model is a really "
"grandiose word for it. It is really just about keeping the operation going "
"day to day.”"
msgstr ""
"Enten det er for en individuell bidragsyter eller en større oppgave, er det "
"vanligvis ikke nok til å gå i balanse om det en ønsker å gjøre, skal bli et "
"levebrød.  Du må bygge inn noen støtte til generell drift. Denne ekstra "
"delen ser ulikt ut for alle, men viktigere, i nesten alle tilfeller for de "
"som er  «Made with Creative Commons», er definisjonen av «nok penger» mye "
"annerledes enn i verden av risikovillig kapital og aksjeopsjoner. Det "
"handler mer om bærekraft og mindre om ubegrenset vekst og fortjeneste. Som "
"SparkFun grunnlegger Nathan Seidle fortalte oss, «Forretningsmodell er et "
"virkelig stort ord for det. Det gjelder egentlig bare å holde operasjonen "
"gående fra dag til dag»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1781
msgid ""
"This book is a testament to the notion that it is possible to make money "
"while using CC licenses and CC-licensed content, but we are still very much "
"at an experimental stage. The creators, organizations, and businesses we "
"profile in this book are blazing the trail and adapting in real time as they "
"pursue this new way of operating."
msgstr ""
"Denne boken er et testament til ideen om at det er mulig å tjene penger mens "
"du bruker CC-lisenser og CC-lisensiert innhold, men vi er fortsatt svært mye "
"på eksperimentstadiet. Innholdsleverandører, organisasjoner, og bedrifter "
"som vi profilerer i denne boken, blitser opp veien videre i sanntid når de "
"forfølger denne nye måten å operere på."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1789
msgid ""
"There are, however, plenty of ways in which CC licensing can be good for "
"business in fairly predictable ways. The first is how it helps solve "
"“problem zero.”"
msgstr ""
"Det er imidlertid mange måter der CC-lisenser kan være bra for forretningen "
"på ganske forutsigbare måter. Først, hvordan det hjelper å løse «problem "
"null»."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1794
msgid "Problem Zero: Getting Discovered"
msgstr "Problem Null: Å bli oppdaget"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1801
msgid ""
"Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help (New York: Grand Central, 2014), 121."
msgstr ""
"Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help (New York: Grand Central, 2014), 121."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1815
msgid ""
"Chris Anderson, Makers: The New Industrial Revolution (New York: Signal, "
"2012), 64."
msgstr ""
"Chris Anderson, Makers: The New Industrial Revolution (New York: Signal, "
"2012), 64."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1796
msgid ""
"Once you create or collect your content, the next step is finding users, "
"customers, fans—in other words, your people. As Amanda Palmer wrote, “It has "
"to start with the art. The songs had to touch people initially, and mean "
"something, for anything to work at all.”<placeholder type=\"footnote\" id="
"\"0\"/> There isn’t any magic to finding your people, and there is certainly "
"no formula. Your work has to connect with people and offer them some "
"artistic and/or utilitarian value. In some ways, this is easier than ever. "
"Online we are not limited by shelf space, so there is room for every obscure "
"interest, taste, and need imaginable. This is what Chris Anderson dubbed the "
"Long Tail, where consumption becomes less about mainstream mass “hits” and "
"more about micromarkets for every particular niche. As Anderson wrote, “We "
"are all different, with different wants and needs, and the Internet now has "
"a place for all of them in the way that physical markets did "
"not.”<placeholder type=\"footnote\" id=\"1\"/> We are no longer limited to "
"what appeals to the masses."
msgstr ""
"Når du oppretter eller samler ditt innhold, er det neste trinnet er å finne "
"brukere, kunder, fans – med andre ord, folk. Som Amanda Palmer skrev, «Det "
"må starte med kunsten. Sangene måtte røre folk først, og bety noe, om noe "
"skal virke i det hele tatt».<placeholder type=\"footnote\" id=\"0\"/>  Det "
"er ikke noe magi å finne dine, og det er absolutt ingen formel. Arbeidet "
"ditt er å få kontakt med folk, og tilby dem noe med kunstnerisk og/eller "
"nytteverdi. På noen måter er det enklere enn noensinne. På nettet er vi ikke "
"begrenset av hylleplass, så det er rom for alle tenkelige særinteresser, "
"smak og behov. Dette er hva Chris Anderson kalte den lange halen, hvor "
"forbruket mindre er om bredspektrede «treff», og mer om mikromarkeder for "
"hver enkelt nisje. Som Anderson skrev, «Vi er alle forskjellige, med "
"forskjellige ønsker og behov, og Internett har nå en plass for dem alle på "
"en måte som fysiske markeder ikke gjorde».<placeholder type=\"footnote\" id="
"\"1\"/> Vi er ikke lenger begrenset til hva som appellerer til massene."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1828
msgid ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 70."
msgstr ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 70."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1834
msgid "Anderson, Makers, 66."
msgstr "Anderson, Makers, 66."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1838
msgid ""
"Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New "
"York: Morgan James, 2016), 10."
msgstr ""
"Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New "
"York: Morgan James, 2016), 10."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1821
msgid ""
"While finding “your people” online is theoretically easier than in the "
"analog world, as a practical matter it can still be difficult to actually "
"get noticed. The Internet is a firehose of content, one that only grows "
"larger by the minute. As a content creator, not only are you competing for "
"attention against more content creators than ever before, you are competing "
"against creativity generated outside the market as well.<placeholder type="
"\"footnote\" id=\"0\"/> Anderson wrote, “The greatest change of the past "
"decade has been the shift in time people spend consuming amateur content "
"instead of professional content.”<placeholder type=\"footnote\" id=\"1\"/> "
"To top it all off, you have to compete against the rest of their lives, too"
"—“friends, family, music playlists, soccer games, and nights on the "
"town.”<placeholder type=\"footnote\" id=\"2\"/> Somehow, some way, you have "
"to get noticed by the right people."
msgstr ""
"Samtidig som å finne «dine folk» på nettet teoretisk er enklere enn i den "
"analoge verden, kan det, som et praktisk spørmål, fortsatt være vanskelig å "
"faktisk bli lagt merke til. Internett er en brannslange med innhold, som "
"bare vokser minutt for minutt. Som innholdsleverandør konkurrerer du også "
"mot kreativitet som er generert utenfor markedet.<placeholder type=\"footnote"
"\" id=\"0\"/> Anderson skrev, «Den største endringen i det siste tiåret har "
"vært skifte i tiden folk bruker på amatørinnhold i stedet for profesjonelt "
"innhold».<placeholder type=\"footnote\" id=\"1\"/> For å toppe det hele du "
"må konkurrere med resten av deres liv, også – «venner, familie, "
"musikkspillelister, fotballkamper, og kveld på byen».<placeholder type="
"\"footnote\" id=\"2\"/> På en eller annen måte må du bli lagt merke til av "
"de rette folkene."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1852
msgid "Anderson, Free, 62."
msgstr "Anderson, Free, 62."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1844
msgid ""
"When you come to the Internet armed with an all-rights-reserved mentality "
"from the start, you are often restricting access to your work before there "
"is even any demand for it. In many cases, requiring payment for your work is "
"part of the traditional copyright system. Even a tiny cost has a big effect "
"on demand.  It’s called the penny gap—the large difference in demand between "
"something that is available at the price of one cent versus the price of "
"zero.<placeholder type=\"footnote\" id=\"0\"/> That doesn’t mean it is wrong "
"to charge money for your content. It simply means you need to recognize the "
"effect that doing so will have on demand. The same principle applies to "
"restricting access to copy the work. If your problem is how to get "
"discovered and find “your people,” prohibiting people from copying your work "
"and sharing it with others is counterproductive."
msgstr ""
"Når du kommer til Internettet med en alle-rettigheter-reservert mentalitet "
"når du starter, begrenser du ofte adgangen til innholdet ditt før det engang "
"er blitt noen etterspørsel etter det. I mange tilfeller er å kreve betaling "
"for innholdet en del av det tradisjonelle opphavsrettssystemet. Selv en "
"liten pris har en stor effekt på etterspørselen. Det kalles «penny gap»: Den "
"store forskjellen i etterspørsel mellom noe som er tilgjengelig til prisen "
"på ett øre mot en pris på null.<placeholder type=\"footnote\" id=\"0\"/> Det "
"betyr ikke at det er galt å ta betalt for innholdet. Det betyr bare du må "
"innse hvilken betydning dette vil ha på etterspørselen. Det samme prinsippet "
"gjelder ved å begrense tilgangen til å kopiere arbeidet. Hvis problemet ditt "
"er å bli oppdaget og finne «dine folk», virker å hindre folk fra å kopiere "
"arbeidet ditt og dele det med andre, mot sin hensikt."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1866
msgid "Doctorow, Information Doesn’t Want to Be Free, 38."
msgstr "Doctorow, Information Doesn’t Want to Be Free, 38."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1862
msgid ""
"Of course, it’s not that being discovered by people who like your work will "
"make you rich—far from it. But as Cory Doctorow says, “Recognition is one of "
"many necessary preconditions for artistic success.”<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"Selvfølgelig, det er ikke at å bli oppdaget av folk som liker arbeidet ditt "
"vil gjøre deg rik - langt fra det. Men som Cory Doctorow sier, "
"«anerkjennelse er en av mange nødvendige forutsetninger for kunstnerisk "
"suksess».<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1870
msgid ""
"Choosing not to spend time and energy restricting access to your work and "
"policing infringement also builds goodwill. Lumen Learning, a for-profit "
"company that publishes online educational materials, made an early decision "
"not to prevent students from accessing their content, even in the form of a "
"tiny paywall, because it would negatively impact student success in a way "
"that would undermine the social mission behind what they do. They believe "
"this decision has generated an immense amount of goodwill within the "
"community."
msgstr ""
"Å velge å ikke bruke tid og energi på å begrense tilgangen til ditt arbeid, "
"og forfølge overtredelser, bygger også goodwill. Lumen Learning, et selskap "
"som er for fortjeneste (profitselskap), og som utgir læremidler på nett, tok "
"en tidlig avgjørelse om ikke å forhindre studentenes adgang til innholdet, "
"selv i form av en liten betalingsvegg, fordi det negativt ville påvirke "
"studentens suksess på en måte som ville undergrave samfunnsoppdraget bak det "
"de gjør. De tror denne beslutningen har generert en betydelig mengde "
"goodwill i samfunnet."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1887
msgid "Bollier, Think Like a Commoner, 68."
msgstr "Bollier, Think Like a Commoner, 68."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1881
msgid ""
"It is not just that restricting access to your work may undermine your "
"social mission. It also may alienate the people who most value your creative "
"work. If people like your work, their natural instinct will be to share it "
"with others. But as David Bollier wrote, “Our natural human impulses to "
"imitate and share—the essence of culture—have been "
"criminalized.”<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Det er ikke bare det at begrenset tilgang til innholdet ditt undergraver "
"ditt sosiale oppdrag. Det kan også fremmedgjøre folk som mest verdsetter din "
"kreative innsats. Hvis folk liker ditt arbeid, blir deres naturlige instinkt "
"å dele det med andre. Men som David Bollier skrev, «våre naturlige "
"menneskelige impulser til å imitere og dele – essensen av hva kultur er – "
"har blitt kriminalisert».<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1891
msgid ""
"The fact that copying can carry criminal penalties undoubtedly deters "
"copying it, but copying with the click of a button is too easy and "
"convenient to ever fully stop it. Try as the copyright industry might to "
"persuade us otherwise, copying a copyrighted work just doesn’t feel like "
"stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a "
"creative work has no impact on anyone else’s ability to make use of it."
msgstr ""
"Det faktum at kopiering kan innebære straffeansvar, forhindrer utvilsomt "
"kopiering, men kopiering ved å klikke på en knapp er for enkelt og praktisk "
"til noensinne å få en fullstendig stopp for det. Opphavsrettsindustrien "
"forsøk på å overbevise oss om det motsatte, å kopierer et åndsprodukt føles "
"ikke som å stjele et brød. Og, selvfølgelig, det er fordi det ikke gjør "
"det.  Å dele skapende arbeid har ingen innvirkning på noen annens mulighet "
"til å gjøre bruk av det."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1900
msgid ""
"If you take some amount of copying and sharing your work as a given, you can "
"invest your time and resources elsewhere, rather than wasting them on "
"playing a cat and mouse game with people who want to copy and share your "
"work. Lizzy Jongma from the Rijksmuseum said, “We could spend a lot of money "
"trying to protect works, but people are going to do it anyway. And they will "
"use bad-quality versions.” Instead, they started releasing high-resolution "
"digital copies of their collection into the public domain and making them "
"available for free on their website. For them, sharing was a form of quality "
"control over the copies that were inevitably being shared online. Doing this "
"meant forgoing the revenue they previously got from selling digital images. "
"But Lizzy says that was a small price to pay for all of the opportunities "
"that sharing unlocked for them."
msgstr ""
"Tar du for gitt endel kopiering og deling av arbeidet ditt, kan du investere "
"tid og ressurser andre steder enn å kaste dem bort på å leke katt og mus med "
"folk som vil kopiere og dele ditt innhold. Lizzy Jongma fra Rijksmuseum sa, "
"«vi kan bruke mye penger på å prøve å beskytte verkene, men folk kommer til "
"å gjøre det likevel.  Og de vil bruke gjengivelser med dårlig kvalitet». I "
"stedet startet de med å utgi høyoppløselige digitale kopier fra sine "
"samlinger i det offentlige rom, og gjøre dem tilgjengelige gratis fra sin "
"hjemmeside. For dem var deling en form for kvalitetskontroll av kopiene som "
"uunngåelig ville blitt delt på nettet. Å gjør dette betydde å gi avkall på "
"inntektene de tidligere fikk fra salg av digitale bilder. Men Lizzy sier det "
"var en liten pris å betale for alle mulighetene som deling låste opp for dem."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1920
msgid "Anderson, Free, 86."
msgstr "Anderson, Free, 86."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1916
msgid ""
"Being Made with Creative Commons means you stop thinking about ways to "
"artificially make your content scarce, and instead leverage it as the "
"potentially abundant resource it is.<placeholder type=\"footnote\" id=\"0\"/"
"> When you see information abundance as a feature, not a bug, you start "
"thinking about the ways to use the idling capacity of your content to your "
"advantage. As my friend and colleague Eric Steuer once said, “Using CC "
"licenses shows you get the Internet.”"
msgstr ""
"Å ha brukt Made with Creative Commons betyr at du slutter å tenke på måter å "
"kunstig gjøre innholdet til et knapphetsgode, og i stedet utnytte det som "
"den potensielt rikelige ressursen det er.<placeholder type=\"footnote\" id="
"\"0\"/> Når du ser informasjonsoverflod som en funksjon, ikke en feil, "
"begynner du å tenke på måter å bruke denne tomgangskapasiteten til din "
"fordel. Som min venn og kollega Eric Steuer engang sa, «å bruke CC-lisenser "
"viser at du har taket på Internettet»."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1931
msgid "Doctorow, Information Doesn’t Want to Be Free, 144."
msgstr "Doctorow, Information Doesn’t Want to Be Free, 144."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1928
msgid ""
"Cory Doctorow says it costs him nothing when other people make copies of his "
"work, and it opens the possibility that he might get something in return."
"<placeholder type=\"footnote\" id=\"0\"/> Similarly, the makers of the "
"Arduino boards knew it was impossible to stop people from copying their "
"hardware, so they decided not to even try and instead look for the benefits "
"of being open. For them, the result is one of the most ubiquitous pieces of "
"hardware in the world, with a thriving online community of tinkerers and "
"innovators that have done things with their work they never could have done "
"otherwise."
msgstr ""
"Cory Doctorow sier det koster ham ingenting når andre mennesker lager kopier "
"av hans arbeid, når det åpner muligheten for at han kan få noe tilbake."
"<placeholder type=\"footnote\" id=\"0\"/> På samme måte, skaperne av Arduino "
"Boards visste det var umulig å stoppe folk fra å kopiere maskinvaren deres, "
"så de besluttet og selv ikke engang å prøve på det, og i stedet se etter "
"fordelene med å være åpne. For dem er resultatet en av de mest utbredte "
"datakort i verden, med et blomstrende nettverkssamfunn (community) av "
"tenkere og innovatører som har bidratt med ting som de selv aldri kunne ha "
"gjort på noen annen måte."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1941
msgid ""
"There are all kinds of way to leverage the power of sharing and remix to "
"your benefit. Here are a few."
msgstr ""
"Det er alle slags måter å utnytte kraften i å dele og remikse til din "
"fordel. Her er noen."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1945
msgid "Use CC to grow a larger audience"
msgstr "Bruk CC for å finne et større publikum"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1947
msgid ""
"Putting a Creative Commons license on your content won’t make it "
"automatically go viral, but eliminating legal barriers to copying the work "
"certainly can’t hurt the chances that your work will be shared. The CC "
"license symbolizes that sharing is welcome. It can act as a little tap on "
"the shoulder to those who come across the work—a nudge to copy the work if "
"they have any inkling of doing so. All things being equal, if one piece of "
"content has a sign that says Share and the other says Don’t Share (which is "
"what “©” means), which do you think people are more likely to share?"
msgstr ""
"Å gi innholdet ditt Creative Commons-lisens, vil ikke automatisk gjøre at "
"det går viralt, men å eliminere juridiske hindringer for å kopiering vil "
"absolutt ikke svekke sjansene for at arbeidet deles. CC-lisens symboliserer "
"at deling er velkomment. Den kan fungere som et lite klapp på skulderen til "
"de som kommer over arbeidet – et lite dytt til å kopiere arbeidet om de "
"fornemmer det. Forutsatt at alt annet er likt, hvis ett stykke innhold har "
"et skilt som sier «Del» og det andre sier «Ikke del» (som er det «©» betyr), "
"hvilket tror du det er mer sannsynlig at folk deler?"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1959
msgid ""
"The Conversation is an online news site with in-depth articles written by "
"academics who are experts on particular topics. All of the articles are CC-"
"licensed, and they are copied and reshared on other sites by design. This "
"proliferating effect, which they track, is a central part of the value to "
"their academic authors who want to reach as many readers as possible."
msgstr ""
"The Conversation er et nyhetsnettsted med dyptgående artikler skrevet av "
"akademikere som er eksperter på spesifikke emner. Alle artiklene er CC-"
"lisensierte, og de kopieres og deles videre til andre bestemte områder. "
"Denne voksende effekten, som spores, er en sentral del av verdien for de "
"akademiske forfattere som ønsker å nå så mange lesere som mulig."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1975
msgid "Anderson, Free, 123."
msgstr "Anderson, Free, 123."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1968
msgid ""
"The idea that more eyeballs equates with more success is a form of the max "
"strategy, adopted by Google and other technology companies. According to "
"Google’s Eric Schmidt, the idea is simple: “Take whatever it is you are "
"doing and do it at the max in terms of distribution. The other way of saying "
"this is that since marginal cost of distribution is free, you might as well "
"put things everywhere.”<placeholder type=\"footnote\" id=\"0\"/> This "
"strategy is what often motivates companies to make their products and "
"services free (i.e., no cost), but the same logic applies to making content "
"freely shareable. Because CC-licensed content is free (as in cost) and can "
"be freely copied, CC licensing makes it even more accessible and likely to "
"spread."
msgstr ""
"Ideen om at jo flere øyne som ser, og gir tilsvarende mer suksess, er en "
"form for maksimumsstrategi, adoptert av Google og andre teknologiselskaper.  "
"Ifølge Eric Schmidt i Google er ideen enkel: «Uansett hva du gjør, gjør det "
"med maksimum distribusjon. Den andre måten å si dette på er at når de "
"marginale distribusjonskostnadene er gratis, kan du også legge ut ting "
"overalt».<placeholder type=\"footnote\" id=\"0\"/> Denne strategien "
"motiverer ofte selskaper til å gjøre sine produkter og tjenester gratis "
"(dvs. til ingen kostnad), men den samme logikken gjelder for å dele innhold "
"fritt. Fordi CC-lisensiert innhold er gratis (i kostnad) og fritt kan deles, "
"gjør CC-lisensiering innholdet enda mer tilgjengelig, og sannsynligvis til å "
"bli spredt."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1989
msgid "Ibid., 132."
msgstr "Ibid., 132."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1994
msgid "Ibid., 70."
msgstr "Ibid., 70."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1984
msgid ""
"If you are successful in reaching more users, readers, listeners, or other "
"consumers of your work, you can start to benefit from the bandwagon effect. "
"The simple fact that there are other people consuming or following your work "
"spurs others to want to do the same.<placeholder type=\"footnote\" id=\"0\"/"
"> This is, in part, because we simply have a tendency to engage in herd "
"behavior, but it is also because a large following is at least a partial "
"indicator of quality or usefulness.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Hvis du lykkes i å nå flere brukere, lesere, lyttere eller andre brukere av "
"arbeidet, kan du starte med å benytte deg av bandwagon-effekten. Det enkle "
"faktum er at andre folk som bruker eller følger ditt arbeid ansporer andre "
"til å gjøre samme.<placeholder type=\"footnote\" id=\"0\"/> Dette er delvis "
"fordi vi ganske enkelt har en tendens til å engasjere oss i flokkatferd, men "
"det er også fordi en stor følgeskare delvis er indikator på kvalitet eller "
"nytteverdi.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1999
msgid "Use CC to get attribution and name recognition"
msgstr "Å bruke CC for å få henvisninger og navnegjenkjenning"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2013
msgid ""
"James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005), 124. "
"Surowiecki says, “The measure of success of laws and contracts is how rarely "
"they are invoked.”"
msgstr ""
"James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005), 124. "
"Surowiecki uttaler: «Målestokken for hvor vellykket lover og kontrakter er, "
"er hvor sjelden de må brukes.»"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2001
msgid ""
"Every Creative Commons license requires that credit be given to the author, "
"and that reusers supply a link back to the original source of the material. "
"CC0, not a license but a tool used to put work in the public domain, does "
"not make attribution a legal requirement, but many communities still give "
"credit as a matter of best practices and social norms. In fact, it is social "
"norms, rather than the threat of legal enforcement, that most often motivate "
"people to provide attribution and otherwise comply with the CC license terms "
"anyway. This is the mark of any well-functioning community, within both the "
"marketplace and the society at large.<placeholder type=\"footnote\" id=\"0\"/"
"> CC licenses reflect a set of wishes on the part of creators, and in the "
"vast majority of circumstances, people are naturally inclined to follow "
"those wishes. This is particularly the case for something as straightforward "
"and consistent with basic notions of fairness as providing credit."
msgstr ""
"Hver Creative Commons-lisens krever at forfatteren gis referanse (kreditt), "
"og at gjenbrukere gir en lenke tilbake til den opprinnelige kilden for "
"materialet. CC0, ikke en lisens, men et verktøy som brukes til å legge "
"arbeider ut i den offentlige sfæren, gjør ikke henvisning juridisk påkrevd, "
"men mange fellesskap gir fortsatt henvisninger i tråd med beste praksis og "
"sosiale normer. Faktisk er det sosiale normer, heller enn trusselen om "
"juridiske håndhevelse, som oftest uansett motiverer folk til å henvise, og "
"ellers overholde lisensvilkårene i CC. Dette er kjennetegnet på et "
"velfungerende fellesskap, både i markedet og samfunnet som  helhet."
"<placeholder type=\"footnote\" id=\"0\"/> CC-lisenser gjenspeiler et sett av "
"ønsker fra bidragsyterne, og i de aller fleste tilfeller er folk naturligvis "
"tilbøyelige til å følge disse ønskene. Dette er spesielt tilfellet for noe "
"så rett frem, og i samsvar med grunnleggende forestillinger om rimelighet, "
"slik som å gi henvisning (kreditt)."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2024
msgid ""
"The fact that the name of the creator follows a CC-licensed work makes the "
"licenses an important means to develop a reputation or, in corporate speak, "
"a brand. The drive to associate your name with your work is not just based "
"on commercial motivations, it is fundamental to authorship.  Knowledge "
"Unlatched is a nonprofit that helps to subsidize the print production of CC-"
"licensed academic texts by pooling contributions from libraries around the "
"United States. The CEO, Frances Pinter, says that the Creative Commons "
"license on the works has a huge value to authors because reputation is the "
"most important currency for academics. Sharing with CC is a way of having "
"the most people see and cite your work."
msgstr ""
"Det faktum at navnet på innholdsleverandøren følger med i et CC-lisensiert "
"arbeid, gjør lisensene til et viktig middel for å utvikle et omdømme, eller "
"i bedriftenes språk, en merkevare. Drivkraften bak å knytte ditt navn til "
"ditt arbeid er ikke bare basert på en kommersiell motivasjon, det er "
"grunnleggende i forfatterskapet.  Åpenhet - Knowledge Unlatched (KU) - er en "
"ideell egenskap som bidrar til å subsidiere produksjonen av CC-lisensierte "
"akademiske tekster ved samling og deling av bidrag fra biblioteker rundt i "
"USA. Direktøren, Frances Pinter, sier at Creative Commons-lisensen på verker "
"har en stor verdi for forfattere fordi omdømme er den viktigste valutaen for "
"akademikere. Deling med CC er en måte for å få flest til å se og sitere ditt "
"arbeide."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2038
msgid ""
"Attribution can be about more than just receiving credit. It can also be "
"about establishing provenance. People naturally want to know where content "
"came from—the source of a work is sometimes just as interesting as the work "
"itself. Opendesk is a platform for furniture designers to share their "
"designs.  Consumers who like those designs can then get matched with local "
"makers who turn the designs into real-life furniture.  The fact that I, "
"sitting in the middle of the United States, can pick out a design created by "
"a designer in Tokyo and then use a maker within my own community to "
"transform the design into something tangible is part of the power of their "
"platform. The provenance of the design is a special part of the product."
msgstr ""
"Å bli navngitt kan handle om mer enn bare å få æren (bli kreditert). Det kan "
"også handle e om å etablere kilden. Naturligvis ønsker folk å vite hvor "
"innholdet kom fra – kilden til et arbeid er noen ganger like interessant som "
"selve arbeidet. Opendesk er en plattform for møbeldesignere til å dele sine "
"design. Forbrukere som liker disse designene kan deretter bli koblet med "
"lokale produsenter som omsetter tegninger til virkelige møbler. Det faktum "
"at jeg sitter i USA, kan plukke ut et design laget av en designer i Tokyo, "
"og deretter bruke en produsent i mitt eget lokalsamfunn til å forvandle "
"designet til noe håndfast, er en del av kraften til plattformen. Opphavet "
"til designet blir en spesiell del av produktet."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2053
msgid ""
"Knowing the source of a work is also critical to ensuring its credibility. "
"Just as a trademark is designed to give consumers a way to identify the "
"source and quality of a particular good and service, knowing the author of a "
"work gives the public a way to assess its credibility. In a time when online "
"discourse is plagued with misinformation, being a trusted information source "
"is more valuable than ever."
msgstr ""
"Å vite hvor arbeidet kommer fra er også avgjørende for å sørge for "
"troverdigheten. Akkurat som et varemerke er utformet for å gi forbrukerne "
"mulighet til å identifisere kilden og kvaliteten til et bestemt gode og en "
"tjeneste, gir det å kjenne til forfatteren av et arbeid publikum en mulighet "
"til å vurdere arbeidets troverdighet. I en tid når nettdiskusjon er plaget "
"med feilinformasjon, er det å være en pålitelig informasjonskilde mer "
"verdifullt enn noensinne."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2063
msgid "Use CC-licensed content as a marketing tool"
msgstr "Å bruke CC-lisensiert innhold som markedsføringsverktøy"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2065
msgid ""
"As we will cover in more detail later, many endeavors that are Made with "
"Creative Commons make money by providing a product or service other than the "
"CC-licensed work. Sometimes that other product or service is completely "
"unrelated to the CC content. Other times it’s a physical copy or live "
"performance of the CC content. In all cases, the CC content can attract "
"people to your other product or service."
msgstr ""
"Som vi vil dekke mer detaljert senere; mange arbeider som er «Made with "
"Creative Commons» tjener penger ved å tilby et annet produkt eller en "
"tjeneste enn det CC-lisensierte arbeidet. Noen ganger er det andre produktet "
"eller tjenesten ikke relatert til CC-innholdet. Andre ganger er det en "
"fysisk utgave eller liveopptreden med CC-innholdet. I alle tilfeller kan CC-"
"innholdet trekke folk til dine andre produkter eller tjenester."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2087
msgid "Anderson, Free, 44."
msgstr "Anderson, Free, 44."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2074
msgid ""
"Knowledge Unlatched’s Pinter told us she has seen time and again how "
"offering CC-licensed content—that is, digitally for free—actually increases "
"sales of the printed goods because it functions as a marketing tool. We see "
"this phenomenon regularly with famous artwork. The Mona Lisa is likely the "
"most recognizable painting on the planet. Its ubiquity has the effect of "
"catalyzing interest in seeing the painting in person, and in owning physical "
"goods with the image. Abundant copies of the content often entice more "
"demand, not blunt it.  Another example came with the advent of the radio. "
"Although the music industry did not see it coming (and fought it!), free "
"music on the radio functioned as advertising for the paid version people "
"bought in music stores.<placeholder type=\"footnote\" id=\"0\"/> Free can be "
"a form of promotion."
msgstr ""
"Knowlegde Unlatcheds Pinter fortalte oss at hun igjen og igjen har sett "
"hvordan det å tilby CC-lisensiert innhold – som er digitalt gratis – faktisk "
"øker salg av de trykte varene fordi det fungerer som et "
"markedsføringsverktøy. Vi ser dette fenomenet regelmessig med kjente "
"kunstverk. Mona Lisa er trolig det mest gjenkjennelige maleriet på planeten. "
"Denne allestedsnærværelsen utløser interessen for å ville se  maleriet selv, "
"og eie fysiske goder med avbildningen. Rikelig med kopier av innholdet "
"lokker ofte til mer etterspørsel, ikke til redusert. Et annet eksempel var "
"da radioen kom. Selv om musikkbransjen ikke så det komme (og kjempet mot "
"den!), fungerte gratis musikk på radio som reklame for den betalte versjonen "
"folk kjøpte i musikkforretninger.<placeholder type=\"footnote\" id=\"0\"/> "
"Gratis kan være en form for markedsføring."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2091
msgid ""
"In some cases, endeavors that are Made with Creative Commons do not even "
"need dedicated marketing teams or marketing budgets. Cards Against Humanity "
"is a CC-licensed card game available as a free download. And because of this "
"(thanks to the CC license on the game), the creators say it is one of the "
"best-marketed games in the world, and they have never spent a dime on "
"marketing. The textbook publisher OpenStax has also avoided hiring a "
"marketing team. Their products are free, or cheaper to buy in the case of "
"physical copies, which makes them much more attractive to students who then "
"demand them from their universities. They also partner with service "
"providers who build atop the CC-licensed content and, in turn, spend money "
"and resources marketing those services (and by extension, the OpenStax "
"textbooks)."
msgstr ""
"I noen tilfeller trenger arbeid utført med Creative Commons ikke engang egne "
"markedsføringsteam eller -budsjetter. Cards Against Humanity er et CC-"
"lisensiert kortspill tilgjengelig som en gratis nedlasting. På grunn av "
"dette (takk til CC-lisensen på spillet) sier de som laget det at det en av "
"de best markedsførte spillene i verden, og at de har aldri brukt en krone på "
"markedsføring. Lærebokutgiveren OpenStax har også sluppet å ansette et "
"markedsføringsteam. Deres produkter er gratis, eller billigere å kjøpe som "
"fysiske kopier, noe som gjør dem mye mer attraktive for studenter, som "
"deretter krever dem fra sine universiteter.  De samarbeider også med "
"tjenesteleverandører som bygger videre oppå det CC-lisensierte innholdet og, "
"igjen, bruker penger og ressurser på å markedsføre disse tjenestene (og "
"dermed OpenStax lærebøker)."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2108
msgid "Use CC to enable hands-on engagement with your work"
msgstr ""
"Bruke CC til å aktivere hands-on engasjement (aktiv deltakelse) med arbeidet "
"ditt"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2111
msgid ""
"The great promise of Creative Commons licensing is that it signifies an "
"embrace of remix culture. Indeed, this is the great promise of digital "
"technology. The Internet opened up a whole new world of possibilities for "
"public participation in creative work."
msgstr ""
"Den store lovnaden med Creative Commons-lisensiering er at den omfavner en "
"remiksingskultur. Dette er faktisk det store løftet med digital teknologi. "
"Internettet åpnet opp en helt ny verden av muligheter for offentlig "
"deltakelse i skapende arbeid."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2125
msgid "Osterwalder and Pigneur, Business Model Generation, 23."
msgstr "Osterwalder og Pigneur, Business Model Generation, 23."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2118
msgid ""
"Four of the six CC licenses enable reusers to take apart, build upon, or "
"otherwise adapt the work. Depending on the context, adaptation can mean "
"wildly different things—translating, updating, localizing, improving, "
"transforming. It enables a work to be customized for particular needs, uses, "
"people, and communities, which is another distinct value to offer the public."
"<placeholder type=\"footnote\" id=\"0\"/> Adaptation is more game changing "
"in some contexts than others. With educational materials, the ability to "
"customize and update the content is critically important for its usefulness. "
"For photography, the ability to adapt a photo is less important."
msgstr ""
"Fire av de seks CC-lisensene åpner for å bygge på gjenbruk, eller på andre "
"måter tilpasse arbeidet. Avhengig av sammenhengen, kan tilpasning bety vidt "
"forskjellige ting – oversettelse, oppdatering, lokalisering, forbedring, "
"transformering. De gjør det mulig å tilpasse et arbeid for spesielle behov, "
"bruk, mennesker og samfunn, som er en annen distinkt verdi å tilby til "
"offentligheten.<placeholder type=\"footnote\" id=\"0\"/> Tilpasning er mer "
"en endring av spillereglene i noen sammenhenger enn i andre. Med læremidler "
"er muligheten til å tilpasse og oppdatere innholdet kritisk viktig for "
"nytteverdien. For fotografi er muligheten til å tilpasse et bilde mindre "
"viktig."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2138
msgid "Anderson, Free, 67."
msgstr "Anderson, Free, 67."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2143
msgid "Ibid., 58."
msgstr "Ibid., 58."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2146
msgid "Anderson, Makers, 71."
msgstr "Anderson, Makers, 71."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2151
msgid ""
"Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into "
"Collaborators (London: Penguin Books, 2010), 78."
msgstr ""
"Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into "
"Collaborators (London: Penguin Books, 2010), 78."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2133
msgid ""
"This is a way to counteract a potential downside of the abundance of free "
"and open content described above. As Anderson wrote in Free, “People often "
"don’t care as much about things they don’t pay for, and as a result they "
"don’t think as much about how they consume them.”<placeholder type=\"footnote"
"\" id=\"0\"/> If even the tiny act of volition of paying one penny for "
"something changes our perception of that thing, then surely the act of "
"remixing it enhances our perception exponentially.<placeholder type="
"\"footnote\" id=\"1\"/> We know that people will pay more for products they "
"had a part in creating.<placeholder type=\"footnote\" id=\"2\"/> And we know "
"that creating something, no matter what quality, brings with it a type of "
"creative satisfaction that can never be replaced by consuming something "
"created by someone else.<placeholder type=\"footnote\" id=\"3\"/>"
msgstr ""
"Dette er en måte å motvirke mulige ulemper på i overfloden av gratis og "
"åpent innhold beskrevet ovenfor. Som Anderson skrev i Free, «Folk bryr seg "
"ofte ikke så mye om ting de ikke betaler for, og som et resultat tenker de "
"ikke så mye på hvordan de bruker dem». <placeholder type=\"footnote\" id="
"\"0\"/> Hvis selv den lille handlingen som vilje til å betale én penny for "
"noe, endrer vår oppfatning av den tingen, så vil sikkert det å remikse "
"forbedre vår oppfatning eksponensielt.<placeholder type=\"footnote\" id="
"\"1\"/> Vi vet at folk vil betale mer for  produkter de hadde en rolle i å "
"lage.<placeholder type=\"footnote\" id=\"2\"/> Og vi vet at å skape noe, "
"uansett hvilken kvalitet, bringer med seg en slags kreativ tilfredshet som "
"kan bli erstattet av å bruke noe som er laget av noen andre.<placeholder "
"type=\"footnote\" id=\"3\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2164
msgid "Ibid., 21."
msgstr "Ibid., 21."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2157
msgid ""
"Actively engaging with the content helps us avoid the type of aimless "
"consumption that anyone who has absentmindedly scrolled through their social-"
"media feeds for an hour knows all too well. In his book, Cognitive Surplus, "
"Clay Shirky says, “To participate is to act as if your presence matters, as "
"if, when you see something or hear something, your response is part of the "
"event.”<placeholder type=\"footnote\" id=\"0\"/> Opening the door to your "
"content can get people more deeply tied to your work."
msgstr ""
"Å aktivt engasjere seg i innholdet hjelper oss til å unngå et planløst "
"forbruk som alle som åndsfraværende har rullet igjennom det som kommer inn i "
"ens sosiale medier en times tid, vet alt for godt. I sin bok, Cognitive "
"Surplus, sier Clay Shirky, «Å delta er å handle som om din tilstedeværelse "
"betyr noe, som om, når du ser noe eller hører noe, er ditt svar en del av "
"hendelsen». <placeholder type=\"footnote\" id=\"0\"/> Å åpne døren til ditt "
"innhold kan få folk dypere knyttet til arbeidet ditt."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2170
msgid "Use CC to differentiate yourself"
msgstr "Bruke CC for å skille deg ut"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2179
msgid "Doctorow, Information Doesn’t Want to Be Free, 43."
msgstr "Doctorow, Information Doesn’t Want to Be Free, 43."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2172
msgid ""
"Operating under a traditional copyright regime usually means operating under "
"the rules of establishment players in the media. Business strategies that "
"are embedded in the traditional copyright system, like using digital rights "
"management (DRM) and signing exclusivity contracts, can tie the hands of "
"creators, often at the expense of the creator’s best interest.<placeholder "
"type=\"footnote\" id=\"0\"/> Being Made with Creative Commons means you can "
"function without those barriers and, in many cases, use the increased "
"openness as a competitive advantage. David Harris from OpenStax said they "
"specifically pursue strategies they know that traditional publishers cannot. "
"“Don’t go into a market and play by the incumbent rules,” David said. "
"“Change the rules of engagement.”"
msgstr ""
"Å operere under et tradisjonelt opphavsrettsregime betyr vanligvis å operere "
"under reglene til etablerte aktører i media. Forretningsstrategier som er "
"innebygd i det tradisjonelle opphavsrettssystemet, som bruker digital "
"rettinghetshåndtering (DRM),  og signering av eksklusivitetskontrakter, kan "
"binde hendene til innholdsleverandører, ofte på bekostning av leverandørens "
"beste interesse.<placeholder type=\"footnote\" id=\"0\"/> Made with Creative "
"Commons betyr at du kan fungere uten disse barrierene, og i mange tilfeller "
"bruke økt åpenhet som et konkurransefortrinn. David Harris fra OpenStax sa "
"at de spesielt forfulgte strategier de vet at tradisjonelle utgivere ikke "
"kan. «Ikke gå inn i et marked og lek med de etablerte reglene»,  sa David. "
"«Reglene for engasjement må endres»."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2191
msgid "Making Money"
msgstr "Å tjene penger"

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2201
msgid ""
"William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten Nonprofit "
"Funding Models,” Stanford Social Innovation Review, Spring 2009, <ulink url="
"\"http://ssir.org/articles/entry/ten_nonprofit_funding_models\"/>."
msgstr ""
"William Landes Foster, Peter Kim, og Barbara Christiansen, “Ten Nonprofit "
"Funding Models,” Stanford Social Innovation Review, Spring 2009, <ulink url="
"\"http://ssir.org/articles/entry/ten_nonprofit_funding_models\"/>."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2193
msgid ""
"Like any moneymaking endeavor, those that are Made with Creative Commons "
"have to generate some type of value for their audience or customers. "
"Sometimes that value is subsidized by funders who are not actually "
"beneficiaries of that value. Funders, whether philanthropic institutions, "
"governments, or concerned individuals, provide money to the organization out "
"of a sense of pure altruism. This is the way traditional nonprofit funding "
"operates.<placeholder type=\"footnote\" id=\"0\"/> But in many cases, the "
"revenue streams used by endeavors that are Made with Creative Commons are "
"directly tied to the value they generate, where the recipient is paying for "
"the value they receive like any standard market transaction. In still other "
"cases, rather than the quid pro quo exchange of money for value that "
"typically drives market transactions, the recipient gives money out of a "
"sense of reciprocity."
msgstr ""
"Som ethvert foretagende som tjener penger, må det som lages med Creative "
"Commons bidra til en slags nytteverdi for sitt publikum eller forbrukere. "
"Noen ganger blir verdien subsidiert av bidragsytere som ikke direkte nyter "
"godt av den direkte. Bidragsytere, enten veldedige institusjoner, "
"myndigheter, eller folk som bryr seg, gir penger til organisasjonen av egen "
"vilje. Dette er den måten vanlig veldedig finansiering virker på."
"<placeholder type=\"footnote\" id=\"0\"/> I mange tilfeller er "
"pengestrømmene som genereres med arbeid laget med Creative Commons (Made "
"with Creative Commons) direkte knyttet til verdien det genererer, der "
"mottakere betaler for verdien de mottar, som i enhver annen standard "
"markedstransaksjon. I mange andre tilfeller, snarere enn i en noe for noe-"
"utveksling  av penger for verdi («en tjeneste er en annen verdt»), som "
"typisk for markedstransaksjoner, gir mottakeren penger i forståelse av en "
"gjensidighet."

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2222
msgid "Shirky, Cognitive Surplus, 111."
msgstr "Shirky, Cognitive Surplus, 111."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2214
msgid ""
"Most who are Made with Creative Commons use a variety of methods to bring in "
"revenue, some market-based and some not. One common strategy is using grant "
"funding for content creation when research-and-development costs are "
"particularly high, and then finding a different revenue stream (or streams) "
"for ongoing expenses. As Shirky wrote, “The trick is in knowing when markets "
"are an optimal way of organizing interactions and when they are "
"not.”<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Det meste som er laget med Creative Commons bruker en rekke ulike metoder "
"for å bringe inn omsetning, noen markedsbaserte og andre ikke. En vanlig "
"strategi er å bruke eksterne bevilgninger til innhold når forsknings- og "
"utviklingskostnader er spesielt høye, og deretter finne en annen "
"inntektsstrøm (eller strømmer) til påløpende utgifter. Som Shirky skrev, er "
"«trikset å vite når markedene er en optimal måte å organisere interaksjoner "
"på og når de ikke er det».<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2226
msgid ""
"Our case studies explore in more detail the various revenue-generating "
"mechanisms used by the creators, organizations, and businesses we "
"interviewed. There is nuance hidden within the specific ways each of them "
"makes money, so it is a bit dangerous to generalize too much about what we "
"learned.  Nonetheless, zooming out and viewing things from a higher level of "
"abstraction can be instructive."
msgstr ""
"Våre referansestudier gjennomgår nærmere de ulike veiene til å skaffe "
"inntekter til innholdsleverandører, organisasjoner og bedrifter vi "
"intervjuet. Det er nyanser skjult i de spesifikke måtene hver og en av dem "
"tjener penger på, så det er litt farlig å generalisere for mye fra hva vi "
"fant. Likevel, å ta et skritt tilbake og vise ting fra et høyere "
"abstraksjonsnivå, kan være lærerikt."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2235
msgid "Market-based revenue streams"
msgstr "Markedsbaserte inntektsstrømmer"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2240
msgid "Osterwalder and Pigneur, Business Model Generation, 30."
msgstr "Osterwalder og Pigneur, Business Model Generation, 30."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2247
msgid ""
"Jim Whitehurst, The Open Organization: Igniting Passion and Performance "
"(Boston: Harvard Business Review Press, 2015), 202."
msgstr ""
"Jim Whitehurst, The Open Organization: Igniting Passion and Performance "
"(Boston: Harvard Business Review Press, 2015), 202."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2237
msgid ""
"In the market, the central question when determining how to bring in revenue "
"is what value people are willing to pay for.<placeholder type=\"footnote\" "
"id=\"0\"/> By definition, if you are Made with Creative Commons, the content "
"you provide is available for free and not a market commodity. Like the "
"ubiquitous freemium business model, any possible market transaction with a "
"consumer of your content has to be based on some added value you provide."
"<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"I markedet er det sentrale spørsmålet når vi bestemmer hvordan vi skal få "
"inntekter, hvor mye folk er villige til å betale.<placeholder type=\"footnote"
"\" id=\"0\"/> Per definisjon, hvis du bruker Made with Creative Commons, er "
"innholdet du gir tilgjengelig gratis og ikke en markedsvare. I den "
"allestedsnærværende freemium-modellen (som kombinerer «free» og «premium»-"
"utgaver av et produkt eller en tjeneste, der inntjeningen ligger i premium-"
"utgaven), må enhver markedstransaksjon med en forbruker av innholdet være "
"basert på en verdiøkning du tilbyr.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2263
msgid "Anderson, Free, 71."
msgstr "Anderson, Free, 71."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2253
msgid ""
"In many ways, this is the way of the future for all content-driven "
"endeavors. In the market, value lives in things that are scarce. Because the "
"Internet makes a universe of content available to all of us for free, it is "
"difficult to get people to pay for content online. The struggling newspaper "
"industry is a testament to this fact. This is compounded by the fact that at "
"least some amount of copying is probably inevitable. That means you may end "
"up competing with free versions of your own content, whether you condone it "
"or not.<placeholder type=\"footnote\" id=\"0\"/> If people can easily find "
"your content for free, getting people to buy it will be difficult, "
"particularly in a context where access to content is more important than "
"owning it. In Free, Anderson wrote, “Copyright protection schemes, whether "
"coded into either law or software, are simply holding up a price against the "
"force of gravity.”"
msgstr ""
"På mange måter er dette veien fremover for alle innholdsdrevne bestrebelser. "
"I markedet ligger verdien i ting som er mangelvare. Med Internetter som et "
"gratis tilgjengelig univers av innhold for oss, er det vanskelig å få folk "
"til å betale for innhold på nettet. Den kjempende avisbransjen er et uttrykk "
"for dette faktum. Dette er forverret av det faktum at i det minste er noe "
"kopiering trolig uunngåelig. Det betyr at du kan ende opp med å  konkurrere "
"med gratis versjoner av ditt eget innhold, enten du ser gjennom fingrene med "
"det eller ikke.<placeholder type=\"footnote\" id=\"0\"/> Hvis folk lett kan "
"finne innholdet gratis, vil det være vanskelig å få folk til å kjøpe det, "
"spesielt i en kontekst der tilgang til innhold er viktigere enn å eie den. I "
"Free skrev Anderson: «Opphavsrettigheter, enten regelfestet i lov eller i "
"programvaren, er i enkelhet å holde en pris opp imot tyngdekraften»."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2282
msgid "Ibid., 231."
msgstr "Ibid., 231."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2272
msgid ""
"Of course, this doesn’t mean that content-driven endeavors have no future in "
"the traditional marketplace. In Free, Anderson explains how when one product "
"or service becomes free, as information and content largely have in the "
"digital age, other things become more valuable. “Every abundance creates a "
"new scarcity,” he wrote. You just have to find some way other than the "
"content to provide value to your audience or customers. As Anderson says, "
"“It’s easy to compete with Free: simply offer something better or at least "
"different from the free version.”<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Dette betyr selvfølgelig at innholdsdrevne bestrebelser ikke har noen "
"fremtid på den tradisjonelle markedsplassen. I Free forklarer Anderson at "
"når et produkt eller en tjeneste blir gratis, som informasjon og innhold i "
"stor grad blir i den digitale tidsalderen, blir andre ting mer verdifulle.  "
"«Hver overflod skaper en ny knapphet», skrev han. Du må bare finne en måte "
"annet enn enn innholdet for å gi verdi til brukere eller kunder. Som "
"Anderson sier, «det er lett å konkurrere med Free: Bare tilby noe bedre, "
"eller i det minste ulik gratisversjonen».<placeholder type=\"footnote\" id="
"\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2286
msgid ""
"In light of this reality, in some ways endeavors that are Made with Creative "
"Commons are at a level playing field with all content-based endeavors in the "
"digital age. In fact, they may even have an advantage because they can use "
"the abundance of content to derive revenue from something scarce. They can "
"also benefit from the goodwill that stems from the values behind being Made "
"with Creative Commons."
msgstr ""
"I lys av denne virkeligheten er det på noen måter slik innhold Made with "
"Creative Commons er på samme bane som alle innholdsbaserte produkter i den "
"digitale tidsalderen. De kan faktisk selv ha en fordel fordi de kan bruke "
"overfloden av innhold til å få inntekter fra noen knappe ressurser. De kan "
"også nyttiggjøre seg velviljen som stammer fra verdiene bak å være Made with "
"Creative Commons."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2295
msgid ""
"For content creators and distributors, there are nearly infinite ways to "
"provide value to the consumers of your work, above and beyond the value that "
"lives within your free digital content. Often, the CC-licensed content "
"functions as a marketing tool for the paid product or service."
msgstr ""
"For innholdskapere og distributører er det nesten uendelige måter å gi verdi "
"til forbrukerne av ditt arbeid, over og utover verdien av det som er "
"innenfor ditt gratis digitale innhold. Ofte fungerer det CC-lisensierte "
"innholdet som et markedsføringsverktøy for de betalte produkter eller "
"tjenester."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2302
msgid "Here are the most common high-level categories."
msgstr "Her er de vanligste høynivå kategoriene."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2306
msgid ""
"Providing a custom service to consumers of your work <emphasis>[MARKET-"
"BASED]</emphasis>"
msgstr ""
"Å tilby en tilpasset tjeneste til brukere av ditt arbeid  "
"<emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2316
msgid "Ibid., 97."
msgstr "Ibid., 97."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2309
msgid ""
"In this age of information abundance, we don’t lack for content. The trick "
"is finding content that matches our needs and wants, so customized services "
"are particularly valuable.  As Anderson wrote, “Commodity information "
"(everybody gets the same version) wants to be free. Customized information "
"(you get something unique and meaningful to you) wants to be "
"expensive.”<placeholder type=\"footnote\" id=\"0\"/> This can be anything "
"from the artistic and cultural consulting services provided by Ártica to the "
"custom-song business of Jonathan “Song-A-Day” Mann."
msgstr ""
"I denne informasjonsalderens overflod mangler vi ikke innhold. Trikset er å "
"finne innhold som samsvarer med våre behov og ønsker, så tilpassede "
"tjenester er spesielt verdifulle. Som Anderson skrev, «Vareinformasjon (alle "
"får den samme versjonen) ønsker å være fri. Tilpasset informasjon (du får "
"noe unikt og meningsfullt for deg) ønsker å være dyr».<placeholder type="
"\"footnote\" id=\"0\"/> Dette kan være alt fra kunstneriske og kulturelle "
"rådgivingstjenester som tilbys av Ártica til det skreddersydde sangtilbudet "
"fra Jonathan «Song-A-Day» Mann."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2323
msgid "Charging for the physical copy <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""
"Å ta betalt for den fysiske kopien <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2330
msgid "Anderson, Makers, 107."
msgstr "Anderson, Makers, 107."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2326
msgid ""
"In his book about maker culture, Anderson characterizes this model as giving "
"away the bits and selling the atoms (where bits refers to digital content "
"and atoms refer to a physical object).<placeholder type=\"footnote\" id="
"\"0\"/> This is particularly successful in domains where the digital version "
"of the content isn’t as valuable as the analog version, like book publishing "
"where a significant subset of people still prefer reading something they can "
"hold in their hands. Or in domains where the content isn’t useful until it "
"is in physical form, like furniture designs. In those situations, a "
"significant portion of consumers will pay for the convenience of having "
"someone else put the physical version together for them. Some endeavors "
"squeeze even more out of this revenue stream by using a Creative Commons "
"license that only allows noncommercial uses, which means no one else can "
"sell physical copies of their work in competition with them. This strategy "
"of reserving commercial rights can be particularly important for items like "
"books, where every printed copy of the same work is likely to be the same "
"quality, so it is harder to differentiate one publishing service from "
"another. On the other hand, for items like furniture or electronics, the "
"provider of the physical goods can compete with other providers of the same "
"works based on quality, service, or other traditional business principles."
msgstr ""
"I sin bok om «maker culture» (produsentkultur) karakteriserer Anderson denne "
"modellen ved at den gir bort biter og selger atomene (der biter refererer "
"til digitalt innhold og atomer refererer til et fysisk objekt).<placeholder "
"type=\"footnote\" id=\"0\"/> Dette er særlig vellykket i domener der den "
"digitale versjonen av innholdet ikke er så verdifull som den analoge "
"versjonen, som i bokpublisering der en stor undergruppe fortsatt foretrekker "
"å lese noe de kan holde i hendene, eller i domener der innholdet ikke er "
"nyttig før det er i fysisk form, som møbeldesign. I slike situasjoner vil en "
"betydelig del av forbrukerne betale for nytten av å ha noen andre til å "
"sette sammen den fysiske versjonen for dem. Noen bidragsytere klemmer enda "
"mer ut av denne inntektsstrømmen ved hjelp av en Creative Commons-lisens som "
"bare tillater ikke-kommersiell bruk, noe som betyr at ingen andre kan selge "
"fysiske kopier av arbeidet i konkurranse med dem. Denne strategien for å "
"reservere kommersielle rettigheter kan være spesielt viktig for varer som "
"bøker, der hver utskrift av det samme arbeidet sannsynligvis har samme "
"kvalitet, så det er vanskeligere å skille en publiseringstjeneste fra en "
"annen. På den annen side, for varer som møbler eller elektronikk, kan "
"leverandøren av de fysiske varene konkurrere med andre leverandører av de "
"samme varene basert på kvalitet, tjeneste eller andre tradisjonelle "
"forretningsprinsipper."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2354
msgid "Charging for the in-person version <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""
"Å ta betalt for en personlig versjon <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2357
msgid ""
"As anyone who has ever gone to a concert will tell you, experiencing "
"creativity in person is a completely different experience from consuming a "
"digital copy on your own. Far from acting as a substitute for face-to-face "
"interaction, CC-licensed content can actually create demand for the in-"
"person version of experience. You can see this effect when people go view "
"original art in person or pay to attend a talk or training course."
msgstr ""
"Som alle som noensinne har gått på en konsert vil fortelle deg, å oppleve "
"kreativitet personlig er en helt annen opplevelse i forhold til å oppleve en "
"digital kopi på egenhånd. Langt fra å være en erstatning for å samhandle "
"ansikt til ansikt, kan CC-lisensiert innhold faktisk skape etterspørsel "
"etter å oppleve dette som en personlig erfaring. Du kan se denne effekten "
"når folk går for å se original kunst personlig, eller betaler for å delta på "
"et tale- eller opplæringskurs."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2368
msgid "Selling merchandise <emphasis>[MARKET-BASED]</emphasis>"
msgstr "Å selge handelsvarer <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2371
msgid ""
"In many cases, people who like your work will pay for products demonstrating "
"a connection to your work. As a child of the 1980s, I can personally attest "
"to the power of a good concert T-shirt. This can also be an important "
"revenue stream for museums and galleries."
msgstr ""
"I mange tilfeller vil folk som liker ditt arbeid betale for produkter som "
"viser en forbindelse til ditt arbeid. Som barn i 1980, kan jeg personlig "
"bekrefte kraften i en T-skjorte fra en god konsert. Dette kan også være en "
"viktig inntektskilde for museer og gallerier."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2388
msgid "Osterwalder and Pigneur, Business Model Generation, 89."
msgstr "Osterwalder og Pigneur, Business Model Generation, 89."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2378
msgid ""
"Sometimes the way to find a market-based revenue stream is by providing "
"value to people other than those who consume your CC-licensed content. In "
"these revenue streams, the free content is being subsidized by an entirely "
"different category of people or businesses. Often, those people or "
"businesses are paying to access your main audience. The fact that the "
"content is free increases the size of the audience, which in turn makes the "
"offer more valuable to the paying customers. This is a variation of a "
"traditional business model built on free called multi-sided platforms."
"<placeholder type=\"footnote\" id=\"0\"/> Access to your audience isn’t the "
"only thing people are willing to pay for—there are other services you can "
"provide as well."
msgstr ""
"Noen ganger kan en finne en markedsbasert inntektsstrøm ved å gi verdi til "
"andre enn dem som bruker ditt CC-lisensierte innhold. I disse "
"inntektstrømmene blir gratis innhold subsidiert av en helt annen kategori "
"personer eller bedrifter. Ofte betaler disse personene eller bedriftene for "
"tilgang til din viktigste målgruppe. Det faktum at innholdet er gratis, øker "
"størrelsen på publikumet, som igjen gjør tilbudet mer verdifullt for de "
"betalende kundene. Dette er en variant av en tradisjonell forretningsmodell "
"bygget på frie såkalte flersidige-plattformer.<placeholder type=\"footnote\" "
"id=\"0\"/> Tilgang til ditt publikum er ikke det eneste folk er villige til "
"å betale for, du kan også levere andre tjenester."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2395
msgid "Charging advertisers or sponsors <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""
"Ta betalt fra annonsører og sponsorer <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2403
msgid "Ibid., 92."
msgstr "Ibid., 92."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2407
msgid "Anderson, Free, 142."
msgstr "Anderson, Free, 142."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2398
msgid ""
"The traditional model of subsidizing free content is advertising. In this "
"version of multi-sided platforms, advertisers pay for the opportunity to "
"reach the set of eyeballs the content creators provide in the form of their "
"audience.<placeholder type=\"footnote\" id=\"0\"/> The Internet has made "
"this model more difficult because the number of potential channels available "
"to reach those eyeballs has become essentially infinite.<placeholder type="
"\"footnote\" id=\"1\"/> Nonetheless, it remains a viable revenue stream for "
"many content creators, including those who are Made with Creative Commons. "
"Often, instead of paying to display advertising, the advertiser pays to be "
"an official sponsor of particular content or projects, or of the overall "
"endeavor."
msgstr ""
"Den tradisjonelle modellen for å subsidiere gratis innhold er reklame. I "
"denne versjonen av flersidige plattformer, betaler annonsørene for "
"muligheten til kontakt til rekken av «antall øyne som ser» i "
"innholdleverandørenes publikum.<placeholder type=\"footnote\" id=\"0\"/> "
"Internett har gjort denne modellen vanskeligere fordi antallet "
"tilgjengelige, mulige kanaler for å nå det aktuelle antallet er i bunn og "
"grunn blitt uendelig.<placeholder type=\"footnote\" id=\"1\"/> Likevel, det "
"er fortsatt en livskraftig inntektskilde for mange innholdsskapere, "
"inkludert dem som bruker Made with Creative Commons. Ofte, i stedet for "
"betaling for å vise reklame, betaler annonsøren for å være en offisiell "
"sponsor av et bestemt innhold,  prosjekter eller oppgaven som sådan."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2416
msgid "Charging your content creators <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""
"Betaling fra dine innholdsleverandører <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2419
msgid ""
"Another type of multisided platform is where the content creators themselves "
"pay to be featured on the platform.  Obviously, this revenue stream is only "
"available to those who rely on work created, at least in part, by others. "
"The most well-known version of this model is the “author-processing charge” "
"of open-access journals like those published by the Public Library of "
"Science, but there are other variations. The Conversation is primarily "
"funded by a university-membership model, where universities pay to have "
"their faculties participate as writers of the content on the Conversation "
"website."
msgstr ""
"En annen type flersidig plattform er der de som lager innholdet selv betaler "
"for å bli omtalt på plattformen. Selvfølgelig er denne inntektsstrømmen bare "
"tilgjengelig for dem som stoler på det arbeidet som er laget, i all fall "
"delvis, av andre. Den mest kjente versjonen av denne modellen er "
"«forfatteravgift» i tidsskrifter med åpen tilgang som de som er publisert av "
"Public Library of Science, men det finnes også andre varianter. The "
"Conversation er primært finansiert med en universitetetsmedlemskapsmodell, "
"der universiteter betaler for at  fakultetene kan ha forfattere som leverer "
"innhold til Conversations nettside."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2433
msgid "Charging a transaction fee <emphasis>[MARKET-BASED]</emphasis>"
msgstr "Transaksjonsgebyr <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2438
msgid "Osterwalder and Pigneur, Business Model Generation, 32."
msgstr "Osterwalder og Pigneur, Business Model Generation, 32."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2436
msgid ""
"This is a version of a traditional business model based on brokering "
"transactions between parties.<placeholder type=\"footnote\" id=\"0\"/> "
"Curation is an important element of this model.  Platforms like the Noun "
"Project add value by wading through CC-licensed content to curate a high-"
"quality set and then derive revenue when creators of that content make "
"transactions with customers. Other platforms make money when service "
"providers transact with their customers; for example, Opendesk makes money "
"every time someone on their site pays a maker to make furniture based on one "
"of the designs on the platform."
msgstr ""
"Dette er en versjon av en tradisjonell modell basert på "
"meglingstransaksjoner mellom deltakere.<placeholder type=\"footnote\" id="
"\"0\"/> Utvalg og organisering er et viktig element i denne modellen. "
"Plattformer som Noun Project tilfører verdi ved å vade gjennom CC-lisensiert "
"innhold for å velge ut et høykvalitets utvalg, og så utlede inntekt når "
"innholdsleverandørene gjør transaksjoner med kunder. Andre plattformer "
"tjener penger når tjenesteleverandører gjør transaksjoner med kundene deres; "
"for eksempel tjener Opendesk penger hver gang noen på deres nettsted betaler "
"en håndverker for å lage møbler basert på ett av designene på plattformen."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2450
msgid ""
"Providing a service to your creators <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""
"Levere en tjeneste til dine innholdsleverandører <emphasis>[MARKEDSBASERT]</"
"emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2453
msgid ""
"As mentioned above, endeavors can make money by providing customized "
"services to their users. Platforms can undertake a variation of this service "
"model directed at the creators that provide the content they feature. The "
"data platforms Figure.NZ and Figshare both capitalize on this model by "
"providing paid tools to help their users make the data they contribute to "
"the platform more discoverable and reusable."
msgstr ""
"Som nevnt ovenfor, kan et innhold gi fortjeneste ved at det leveres "
"tilpassede tjenester til brukerne. Plattformer kan gi en variant av denne "
"tjenestemodellen rettet mot innholdsleverandører som legger inn et innhold "
"de får omtalt. Dataplattformene Figure.NZ og Figshare utnytter denne "
"modellen ved å tilby betalte verktøy for å hjelpe sine brukere å gjøre "
"dataene de bidrar med til plattformen mer synlige og gjenbrukbare."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2463
msgid "Licensing a trademark <emphasis>[MARKET-BASED]</emphasis>"
msgstr "Lisensiere et varemerke <emphasis>[MARKEDSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2466
msgid ""
"Finally, some that are Made with Creative Commons make money by selling use "
"of their trademarks. Well known brands that consumers associate with "
"quality, credibility, or even an ethos can license that trademark to "
"companies that want to take advantage of that goodwill. By definition, "
"trademarks are scarce because they represent a particular source of a good "
"or service. Charging for the ability to use that trademark is a way of "
"deriving revenue from something scarce while taking advantage of the "
"abundance of CC content."
msgstr ""
"Endelig tjener noen som er laget med Creative Commons penger på å selge bruk "
"av varemerker. Kjente merker som forbrukerne forbinder med kvalitet, "
"troverdighet, eller selv en holdning (etos) kan lisensiere varemerket til "
"selskaper som ønsker å dra nytte av dets goodwill. Per definisjon er "
"varemerker knappe fordi de representerer et bestemt opphav for et gode eller "
"en tjeneste. Å ta betalt for muligheten til å bruke det varemerket er en "
"måte å skaffe inntekt fra noe det er knapphet på, og samtidig utnytte "
"fordelen av overfloden av CC-innhold."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2478
msgid "Reciprocity-based revenue streams"
msgstr "Gjensidighetsbaserte inntektsstrømmer"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2480
msgid ""
"Even if we set aside grant funding, we found that the traditional economic "
"framework of understanding the market failed to fully capture the ways the "
"endeavors we analyzed were making money. It was not simply about monetizing "
"scarcity."
msgstr ""
"Selv om vi setter til side velgjørenhetsfinansiering, fant vi at "
"tradisjonelle økonomiske rammen for å forstå  markedet ikke fullt ut fanger "
"måtene den innsatsen vi analyserte for å tjene penger. Det handlet ikke bare "
"om å tjene penger på knapphet."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2487
msgid ""
"Rather than devising a scheme to get people to pay money in exchange for "
"some direct value provided to them, many of the revenue streams were more "
"about providing value, building a relationship, and then eventually finding "
"some money that flows back out of a sense of reciprocity. While some look "
"like traditional nonprofit funding models, they aren’t charity. The endeavor "
"exchange value with people, just not necessarily synchronously or in a way "
"that requires that those values be equal. As David Bollier wrote in Think "
"Like a Commoner, “There is no self-serving calculation of whether the value "
"given and received is strictly equal.”"
msgstr ""
"I stedet for å utarbeide en plan for å få folk til å betale penger for noe "
"som har en direkte verdi levert til dem, handlet mange av inntektsstrømmene "
"mer om å gi verdi, bygge forhold, og så eventuelt finne noen penger som "
"strømmer tilbake fra en forståelse av gjensidighet. Mens noe ser ut som "
"tradisjonelle veldedige finansieringsmodeller, er de ikke det. Innsatsen "
"utveksler verdier mellom mennesker, ikke nødvendigvis synkront eller på en "
"måte som krever at disse verdiene er like. Som David Bollier skrev i Think "
"Like a Commoner, «Det er ingen iboende kalkyle i om verdien som er gitt og "
"mottatt er helt lik»."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2500
msgid ""
"This should be a familiar dynamic—it is the way you deal with your friends "
"and family. We give without regard for what and when we will get back. David "
"Bollier wrote, “Reciprocal social exchange lies at the heart of human "
"identity, community and culture. It is a vital brain function that helps the "
"human species survive and evolve.”"
msgstr ""
"Dette skulle være en kjent dynamikk – det er måten du behandler dine venner "
"og familie. Vi gir uten hensyn til hva vi får, og når vi får tilbake. David "
"Bollier skrev, «Gjensidig sosial utveksling ligger i hjertet av menneskets "
"identitet, samfunn og kultur. Det er en viktig hjernefunksjon som hjelper "
"menneskeheten i sin overlevelse og utvikling»."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2510
msgid "Bollier, Think Like a Commoner, 150."
msgstr "Bollier, Think Like a Commoner, 150."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2514
msgid "Ibid., 134."
msgstr "Ibid., 134."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2508
msgid ""
"What is rare is to incorporate this sort of relationship into an endeavor "
"that also engages with the market.<placeholder type=\"footnote\" id=\"0\"/> "
"We almost can’t help but think of relationships in the market as being "
"centered on an even-steven exchange of value.<placeholder type=\"footnote\" "
"id=\"1\"/>"
msgstr ""
"Det er sjeldent å innlemme slike forhold i en innsats som også favner "
"markedet.<placeholder type=\"footnote\" id=\"0\"/>  Vi kan nesten ikke unngå "
"å tenke på markedsrelasjoner som sentrert, uten gjensidig utveksling av "
"verdi.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2519
msgid ""
"Memberships and individual donations <emphasis>[RECIPROCITY-BASED]</emphasis>"
msgstr ""
"Medlemskap og individuelle donasjoner <emphasis>[GJENSIDIGHETSBASERT]</"
"emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2522
msgid ""
"While memberships and donations are traditional nonprofit funding models, in "
"the Made with Creative Commons context, they are directly tied to the "
"reciprocal relationship that is cultivated with the beneficiaries of their "
"work. The bigger the pool of those receiving value from the content, the "
"more likely this strategy will work, given that only a small percentage of "
"people are likely to contribute. Since using CC licenses can grease the "
"wheels for content to reach more people, this strategy can be more effective "
"for endeavors that are Made with Creative Commons. The greater the argument "
"that the content is a public good or that the entire endeavor is furthering "
"a social mission, the more likely this strategy is to succeed."
msgstr ""
"Mens medlemskap og donasjoner er tradisjonelle veldedige "
"finansieringsmodeller, i Made with Creative Commons-sammenheng, er de "
"direkte knyttet til det gjensidige forholdet dyrket med de som nyter godt av "
"arbeidet. Jo større mengde som mottar verdi fra innholdet, jo mer sannsynlig "
"er det at denne strategien vil fungere, gitt at bare en liten prosentandel "
"av brukerne sannsynligvis vil bidra. Siden det å bruke CC-lisenser kan smøre "
"hjulene for at innhold skal nå flere mennesker, kan denne strategien være "
"mer effektiv for innsatser utført med laget med Creative Commons. Jo "
"viktigere argumentet er for at innholdet er et kollektivt gode, eller at "
"hele innsatsen skal fremme en sosial oppgave, jo mer sannsynlig er det at "
"denne strategien lykkes."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2538
msgid "The pay-what-you-want model <emphasis>[RECIPROCITY-BASED]</emphasis>"
msgstr "Betal-hva-du-vil-modellen <emphasis>[GJENSIDIGHETSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2541
msgid ""
"In the pay-what-you-want model, the beneficiary of Creative Commons content "
"is invited to give—at any amount they can and feel is appropriate, based on "
"the public and personal value they feel is generated by the open content. "
"Critically, these models are not touted as “buying” something free. They are "
"similar to a tip jar. People make financial contributions as an act of "
"gratitude. These models capitalize on the fact that we are naturally "
"inclined to give money for things we value in the marketplace, even in "
"situations where we could find a way to get it for free."
msgstr ""
"I betal-hva-du-vil-modellen blir mottakere av Creative Commons-innhold "
"invitert til å gi et beløp de synes de kan gi og føler er nødvendig, basert "
"på den offentlige og personlige verdi de føler er frembrakt av det åpne "
"innholdet. Kritisk sett er ikke disse modellene myntet på å «kjøpe» noe "
"gratis. De likner en skål til drikkepenger. Folk gir et økonomiske bidrag "
"som en takk. Disse modellene kapitaliserer det faktum at vi er naturlig "
"tilbøyelige til å gi penger for tingene vi setter pris på i markedet, selv i "
"situasjoner der vi ellers kan finne en måte å få det gratis på ."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2554
msgid "Crowdfunding <emphasis>[RECIPROCITY-BASED]</emphasis>"
msgstr "Folkefinansiering <emphasis>[GJENSIDIGHETSBASERT]</emphasis>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2557
msgid ""
"Crowdfunding models are based on recouping the costs of creating and "
"distributing content before the content is created. If the endeavor is Made "
"with Creative Commons, anyone who wants the work in question could simply "
"wait until it’s created and then access it for free. That means, for this "
"model to work, people have to care about more than just receiving the work. "
"They have to want you to succeed. Amanda Palmer credits the success of her "
"crowdfunding on Kickstarter and Patreon to the years she spent building her "
"community and creating a connection with her fans. She wrote in The Art of "
"Asking, “Good art is made, good art is shared, help is offered, ears are "
"bent, emotions are exchanged, the compost of real, deep connection is "
"sprayed all over the fields. Then one day, the artist steps up and asks for "
"something. And if the ground has been fertilized enough, the audience says, "
"without hesitation: of course.”"
msgstr ""
"Folkefinansiering er modeller basert på å tjene inn igjen kostnadene til å "
"lage og distribuere innhold når innholdet er opprettet. Hvis arbeidet er "
"laget med Creative Commons, kunne de som ønsker det aktuelle arbeidet bare "
"vente til det er opprettet, og deretter få tilgang til det gratis. Det "
"betyr, for å få denne modellen til å virke, at folk må bry seg mer enn å "
"bare motta arbeidet. De må ønske at du lykkes. Amanda Palmer tillegger "
"suksessen med folkefinansiering av Kickstarter og Patreon til årene hun "
"brukte til bygge opp sitt fellesskap, og utvikle koblingen med tilhengerne "
"sine. Hun skrev i The Art og Asking, «God kunst er laget, god kunst deles, "
"hjelp tilbys, ører spisset, følelser utveksles, kompost av ekte og dyp "
"forbindelse er spredt over åkrene.  Så en dag, trapper kunstneren opp og ber "
"om noe. Og hvis bakken er gjødslet nok, sier publikum, uten å nøle: "
"Selvfølgelig»."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2575
msgid ""
"Other types of crowdfunding rely on a sense of responsibility that a "
"particular community may feel. Knowledge Unlatched pools funds from major U."
"S. libraries to subsidize CC-licensed academic work that will be, by "
"definition, available to everyone for free. Libraries with bigger budgets "
"tend to give more out of a sense of commitment to the library community and "
"to the idea of open access generally."
msgstr ""
"Andre typer folkefinansiering bygger på en ansvarsfølelse som et bestemt "
"fellesskap kan ha. Knowledge Unlatched samler opp midler fra store "
"amerikanske biblioteker for å støtte CC-lisensiert akademisk arbeid som vil "
"bli, per definisjon, tilgjengelig gratis for alle. Biblioteker med større "
"budsjetter tenderer til å gi mer av en følelse av forpliktelse til "
"biblioteksamfunnet, og ideen om åpen tilgang generelt."

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2586
msgid "Making Human Connections"
msgstr "Å bygge menneskelige forbindelser"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2588
msgid ""
"Regardless of how they made money, in our interviews, we repeatedly heard "
"language like “persuading people to buy” and “inviting people to pay.” We "
"heard it even in connection with revenue streams that sit squarely within "
"the market. Cory Doctorow told us, “I have to convince my readers that the "
"right thing to do is to pay me.” The founders of the for-profit company "
"Lumen Learning showed us the letter they send to those who opt not to pay "
"for the services they provide in connection with their CC-licensed "
"educational content. It isn’t a cease-and-desist letter; it’s an invitation "
"to pay because it’s the right thing to do. This sort of behavior toward what "
"could be considered nonpaying customers is largely unheard of in the "
"traditional marketplace. But it seems to be part of the fabric of being Made "
"with Creative Commons."
msgstr ""
"Uansett hvordan de tjente penger, i våre intervjuer hørte vi gjentatte "
"ganger ord som «å overtale folk til å kjøpe» og «invitere folk til å "
"betale». Vi hørte det selv i forbindelse med inntektsstrømmer som er helt og "
"holdent i markedet. Cory Doctorow fortalte oss, «Jeg må overbevise mine "
"lesere om at det riktige å gjøre er å betale meg». Grunnleggerne av for-"
"profitt-selskapet Lumen Learning, viste oss brevet de sender til dem som "
"velger å ikke betale for tjenestene de leverer med sitt CC-lisensierte "
"utdanningsinnhold. Det er ikke et stanse- og avslå-brev; det er en "
"invitasjon til å betale fordi det er den riktige tingen å gjøre. Denne typen "
"atferd overfor hva som kan anses som ikke betalende kunder, er hovedsakelig "
"uhørt på den tradisjonelle markedsplassen. Men det synes å være en del av "
"oppbyggingen av å være Made with Creative Commons."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2604
msgid ""
"Nearly every endeavor we profiled relied, at least in part, on people being "
"invested in what they do. The closer the Creative Commons content is to "
"being “the product,” the more pronounced this dynamic has to be. Rather than "
"simply selling a product or service, they are making ideological, personal, "
"and creative connections with the people who value what they do."
msgstr ""
"Nesten alle forsøk vi undersøkte støtte seg, minst delvis, på at folk "
"investerer i hva de gjør. Jo nærmere Creative Commons-innhold er i å være "
"«produktet», jo mer uttalt må denne dynamikken være.  I stedet for bare å "
"selge et produkt eller en service, knytter de ideologiske, personlige og "
"kreative forbindelser med folk som verdsetter det de gjør."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2612
msgid ""
"It took me a very long time to see how this avoidance of thinking about what "
"they do in pure market terms was deeply tied to being Made with Creative "
"Commons."
msgstr ""
"Det tok meg lang tid å se hvordan dette å unngå å tenke på hva de gjør i "
"rene markedstermer, var sterkt knyttet til Made with Creative Commons."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2617
msgid ""
"I came to the research with preconceived notions about what Creative Commons "
"is and what it means to be Made with Creative Commons. It turned out I was "
"wrong on so many counts."
msgstr ""
"Jeg kom til prosjektet med forhåndsoppfatningen om hva Creative Commons er, "
"og hva det betyr å være laget med Creative Commons. Det viste seg at jeg tok "
"feil på så mange punkter."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2622
msgid ""
"Obviously, being Made with Creative Commons means using Creative Commons "
"licenses. That much I knew. But in our interviews, people spoke of so much "
"more than copyright permissions when they explained how sharing fit into "
"what they do. I was thinking about sharing too narrowly, and as a result, I "
"was missing vast swaths of the meaning packed within Creative Commons. "
"Rather than parsing the specific and narrow role of the copyright license in "
"the equation, it is important not to disaggregate the rest of what comes "
"with sharing. You have to widen the lens."
msgstr ""
"Selvfølgelig er Made with Creative Commons å bruke Creative Commons-"
"lisenser. Så mye visste jeg. Men i våre intervjuer snakket folk om så mye "
"mer enn opphavsrettigheter når de forklarte hvordan deling passer inn i hva "
"de gjør. Jeg tenkte for smalt på deling, og resultatet var jeg hadde store "
"sprekker i meningen som er pakket inn i Creative Commons. Snarere enn å "
"analysere den spesifikke og smale rollen til opphavsretten i sammenhengen, "
"er det viktig å ikke skille ut resten av det som følger med deling. Du må "
"utvide synsfeltet."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2633
msgid ""
"Being Made with Creative Commons is not just about the simple act of "
"licensing a copyrighted work under a set of standardized terms, but also "
"about community, social good, contributing ideas, expressing a value system, "
"working together. These components of sharing are hard to cultivate if you "
"think about what you do in purely market terms. Decent social behavior isn’t "
"as intuitive when we are doing something that involves monetary exchange. It "
"takes a conscious effort to foster the context for real sharing, based not "
"strictly on impersonal market exchange, but on connections with the people "
"with whom you share—connections with you, with your work, with your values, "
"with each other."
msgstr ""
"Made with Creative Commons dreier seg  ikke bare om den enkle handlingen å "
"lisensiere et åndsprodukt med et sett standardiserte vilkår, men også om "
"fellesskap, sosial nytte, å bidra med ideer, uttrykke et verdisystem, "
"samarbeide. Det er vanskelig å kultivere delingskomponentene hvis du tenker "
"på hva du gjør med ren markedstenkning. Anstendig sosial atferd er ikke like "
"intuitivt når vi gjør noe med en monetær utveksling. Det kreves en bevisst "
"innsats for å fremme en kontekst med ekte deling, ikke bare basert på "
"upersonlig utveksling i markedet, men på forbindelsene med folk som du "
"deler med  – forbindelsene til deg, med arbeidet ditt, med dine verdier, med "
"hverandre."

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2647
msgid ""
"The rest of this section will explore some of the common strategies that "
"creators, companies, and organizations use to remind us that there are "
"humans behind every creative endeavor.  To remind us we have obligations to "
"each other. To remind us what sharing really looks like."
msgstr ""
"I resten av denne seksjonen vil vi gjennomgå noen av de vanlige strategiene "
"som innholdsleverandører, selskaper og organisasjoner bruker for å minne oss "
"på at det finnes mennesker bak ethvert kreativt arbeid. For å minne oss om "
"at vi  har forpliktelser overfor hverandre. For å minne oss om hvordan "
"deling virkelig ser ut."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2654
msgid "Be human"
msgstr "Vær menneskelig"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2658
msgid ""
"Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our "
"Decisions, rev. ed. (New York: Harper Perennial, 2010), 109."
msgstr ""
"Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our "
"Decisions, rev. ed. (New York: Harper Perennial, 2010), 109."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2656
msgid ""
"Humans are social animals, which means we are naturally inclined to treat "
"each other well.<placeholder type=\"footnote\" id=\"0\"/> But the further "
"removed we are from the person with whom we are interacting, the less caring "
"our behavior will be. While the Internet has democratized cultural "
"production, increased access to knowledge, and connected us in extraordinary "
"ways, it can also make it easy forget we are dealing with another human."
msgstr ""
"Mennesker er sosiale dyr, noe som betyr at vi er naturlig tilbøyelig til å "
"behandle hverandre godt.<placeholder type=\"footnote\" id=\"0\"/> Men jo "
"fjernere vi er fra personen som vi samhandler med, jo mindre omsorgsfull vil "
"vår atferd være. Mens Internett har demokratisert kulturell produksjon, har "
"økt tilgangen til kunnskap, og koblet oss sammen på ekstraordinære måter, "
"kan det også gjøre det lett å glemme at vi arbeider med et annet menneske."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2682
msgid ""
"Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get "
"Discovered (New York: Workman, 2014), 93."
msgstr ""
"Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get "
"Discovered (New York: Workman, 2014), 93."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2669
msgid ""
"To counteract the anonymous and impersonal tendencies of how we operate "
"online, individual creators and corporations who use Creative Commons "
"licenses work to demonstrate their humanity. For some, this means pouring "
"their lives out on the page. For others, it means showing their creative "
"process, giving a glimpse into how they do what they do. As writer Austin "
"Kleon wrote, “Our work doesn’t speak for itself. Human beings want to know "
"where things came from, how they were made, and who made them. The stories "
"you tell about the work you do have a huge effect on how people feel and "
"what they understand about your work, and how people feel and what they "
"understand about your work affects how they value it.”<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"For å motvirke anonyme og upersonlige tendenser i hvordan vi opererer på "
"nettet, arbeider individuelle leverandører og selskaper, som bruker Creative "
"Commons-lisenser, med å demonstrere sin menneskelighet. For noen betyr dette "
"å legge ut sine liv på nettsiden. For andre betyr dette å vise sin kreative "
"prosess, gi et innblikk i hvordan de gjør det de gjør. Som forfatter skrev "
"Austin Kleon, «Vårt arbeid snakker ikke for seg selv. Mennesker ønsker å "
"vite hvor ting kom fra, hvordan de ble laget, og hvem som laget dem. "
"Historiene du fortelle om arbeidet du gjør, har stor innvirkning på hvordan "
"folk føler, hva de forstår om arbeidet ditt, hvordan folk føler, og hva de "
"forstår om hvordan arbeidet ditt påvirker hvordan de verdsetter det»."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2688
msgid ""
"A critical component to doing this effectively is not worrying about being a "
"“brand.” That means not being afraid to be vulnerable. Amanda Palmer says, "
"“When you’re afraid of someone’s judgment, you can’t connect with them. "
"You’re too preoccupied with the task of impressing them.” Not everyone is "
"suited to live life as an open book like Palmer, and that’s OK. There are a "
"lot of ways to be human. The trick is just avoiding pretense and the "
"temptation to artificially craft an image. People don’t just want the glossy "
"version of you. They can’t relate to it, at least not in a meaningful way."
msgstr ""
"En kritisk komponent for å gjøre dette effektivt er å ikke bekymre seg om å "
"være en «merkevare». Det betyr å ikke å være redd for å være sårbar. Amanda "
"Palmer sier, «når du er redd for noens dom, må du ikke koble deg sammen med "
"dem. Du blir for opptatt med oppgaven å imponere dem». Det passer ikke for "
"alle å leve livet som en åpen bok, som Palmer, og det er OK. Det er mange "
"måter å være menneske på. Trikset er bare unngå å late som, og fristelsen "
"til å lage et kunstig bilde.  Folk ønsker ikke bare den skinnende versjonen "
"av deg. De kan ikke forholder seg til det, i hvert fall ikke på en "
"meningsfull måte."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2708
msgid "Kramer, Shareology, 76."
msgstr "Kramer, Shareology, 76."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2700
msgid ""
"This advice is probably even more important for businesses and organizations "
"because we instinctively conceive of them as nonhuman (though in the United "
"States, corporations are people!). When corporations and organizations make "
"the people behind them more apparent, it reminds people that they are "
"dealing with something other than an anonymous corporate entity. In business-"
"speak, this is about “humanizing your interactions” with the public."
"<placeholder type=\"footnote\" id=\"0\"/> But it can’t be a gimmick. You "
"can’t fake being human."
msgstr ""
"Dette rådet er sannsynligvis enda viktigere for bedrifter og organisasjoner "
"fordi vi instinktivt tenker på dem som ikke menneskelige (men i USA, er "
"selskaper mennesker!). Når bedrifter og organisasjoner gjør menneskene bak "
"dem mer tydelige, minner det folk om at de har å gjøre med noe annet enn en "
"anonym enhet i en bedrift. I forretningsspråket handler dette om å "
"«menneskeliggjøre sine samhandlinger» med offentligheten.<placeholder type="
"\"footnote\" id=\"0\"/> Men det kan ikke være en gimmick. Du kan ikke "
"forfalske det å være menneske."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2714
msgid "Be open and accountable"
msgstr "Vær åpen og ansvarlig"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2723
msgid "Palmer, Art of Asking, 252."
msgstr "Palmer, Art of Asking, 252."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2728
msgid "Whitehurst, Open Organization, 145."
msgstr "Whitehurst, Open Organization, 145."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2716
msgid ""
"Transparency helps people understand who you are and why you do what you do, "
"but it also inspires trust. Max Temkin of Cards Against Humanity told us, "
"“One of the most surprising things you can do in capitalism is just be "
"honest with people.” That means sharing the good and the bad. As Amanda "
"Palmer wrote, “You can fix almost anything by authentically "
"communicating.”<placeholder type=\"footnote\" id=\"0\"/> It isn’t about "
"trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but "
"instead about explaining your rationale and then being prepared to defend it "
"when people are critical.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Åpenhet hjelper folk å forstå hvem du er og hvorfor du gjør det du gjør, men "
"det inspirerer også til tillit. Som Max Temkin i Cards Against Humanity "
"fortalte oss, «En av de mest overraskende tingene du kan gjøre i "
"kapitalismen, er bare å være ærlig med folk». Det betyr at du deler det gode "
"og dårlige. Som Amanda Palmer skrev, «Du kan fikse nesten alt med ekte og "
"pålitelig kommunikasjon».<placeholder type=\"footnote\" id=\"0\"/> Det "
"handler ikke om å prøve å tilfredsstille alle, eller prøver å glatte over "
"feil eller dårlige nyheter, men i stedet forklare om din begrunnelse, og så "
"være forberedt på å forsvare den når folk er kritiske.<placeholder type="
"\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2737
msgid "Surowiecki, Wisdom of Crowds, 203."
msgstr "Surowiecki, Wisdom of Crowds, 203."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2744
msgid "Whitehurst, Open Organization, 80."
msgstr "Whitehurst, Open Organization, 80."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2732
msgid ""
"Being accountable does not mean operating on consensus.  According to James "
"Surowiecki, consensus-driven groups tend to resort to lowest-common-"
"denominator solutions and avoid the sort of candid exchange of ideas that "
"cultivates healthy collaboration.<placeholder type=\"footnote\" id=\"0\"/> "
"Instead, it can be as simple as asking for input and then giving context and "
"explanation about decisions you make, even if soliciting feedback and "
"inviting discourse is time-consuming. If you don’t go through the effort to "
"actually respond to the input you receive, it can be worse than not inviting "
"input in the first place.<placeholder type=\"footnote\" id=\"1\"/> But when "
"you get it right, it can guarantee the type of diversity of thought that "
"helps endeavors excel. And it is another way to get people involved and "
"invested in what you do."
msgstr ""
"Å være ansvarlig betyr ikke å operere med konsensus. Ifølge James "
"Surowiecki, tenderer konsensusdrevne grupper til å ty til løsninger basert "
"på laveste fellesnevner, og unngår oppriktig utveksling av ideer i "
"fremmingen av sunt samarbeid.<placeholder type=\"footnote\" id=\"0\"/> "
"Isteden kan det være så enkelt som å be om innspill, og deretter tilby "
"bindeleddsinformasjon og forklaringer på beslutninger du tar, selv om det å "
"be om tilbakemeldinger og innby til meningsutveksling er tidkrevende. Hvis "
"du ikke tar deg bryderiet med å svare på innspillene du får, kan det være "
"verre enn å ikke invitere dem i første omgang.<placeholder type=\"footnote\" "
"id=\"0\"/> Når du dog får det godt til, kan det garantere den typen mangfold "
"i tenkingen som hjelper til å utmerke innsatsen. Samtidig er det en annen "
"måte å få folk involvert og investert i det du gjør."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2752
msgid "Design for the good actors"
msgstr "Design for de gode aktører"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2756
msgid "Bollier, Think Like a Commoner, 25."
msgstr "Bollier, Think Like a Commoner, 25."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2761
msgid "Ibid., 31."
msgstr "Ibid., 31."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2754
msgid ""
"Traditional economics assumes people make decisions based solely on their "
"own economic self-interest.<placeholder type=\"footnote\" id=\"0\"/> Any "
"relatively introspective human knows this is a fiction—we are much more "
"complicated beings with a whole range of needs, emotions, and motivations. "
"In fact, we are hardwired to work together and ensure fairness.<placeholder "
"type=\"footnote\" id=\"1\"/> Being Made with Creative Commons requires an "
"assumption that people will largely act on those social motivations, "
"motivations that would be considered “irrational” in an economic sense. As "
"Knowledge Unlatched’s Pinter told us, “It is best to ignore people who try "
"to scare you about free riding. That fear is based on a very shallow view of "
"what motivates human behavior.” There will always be people who will act in "
"purely selfish ways, but endeavors that are Made with Creative Commons "
"design for the good actors."
msgstr ""
"Tradisjonell økonomi forutsetter at folk tar avgjørelser basert utelukkende "
"ut fra sin økonomiske egeninteresse.<placeholder type=\"footnote\" id=\"0\"/"
"> Ethvert relativt selvanalyserende menneske vet at dette er en fiksjon – vi "
"er mye mer kompliserte vesener med en hel rekke behov, følelser og "
"motivasjoner. Faktisk er vi bundet til å samarbeide og sikre rettferdighet."
"<placeholder type=\"footnote\" id=\"1\"/> Made with Creative Commons "
"forutsetter en oppfatning om at folk i stor grad vil handle ut fra disse "
"sosiale motivasjonene, motivasjoner som ville bli betraktet som "
"«irrasjonelle» i økonomisk forstand. Som Pinter i Knowlegde Unlatched "
"fortalte oss, er «det best å ignorere mennesker som prøver å skremme deg med "
"gratisturer. Den frykten er basert på et svært grunt syn på hva som "
"motiverer menneskelig atferd». Det vil alltid være folk som vil handle på "
"rent egoistiske måter, men oppgaver som er laget med Creative Commons-design "
"er for de gode aktørene."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2779
msgid "Shirky, Cognitive Surplus, 112."
msgstr "Shirky, Cognitive Surplus, 112."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2773
msgid ""
"The assumption that people will largely do the right thing can be a self-"
"fulfilling prophecy. Shirky wrote in Cognitive Surplus, “Systems that assume "
"people will act in ways that create public goods, and that give them "
"opportunities and rewards for doing so, often let them work together better "
"than neoclassical economics would predict.”<placeholder type=\"footnote\" id="
"\"0\"/> When we acknowledge that people are often motivated by something "
"other than financial self-interest, we design our endeavors in ways that "
"encourage and accentuate our social instincts."
msgstr ""
"Antagelsen om at folk i stor grad vil gjøre det rette, kan være en "
"selvoppfyllende profeti. Shirky skrev i Cognitive Surplus: «Systemer som "
"antar at folk vil opptre på måter som skaper offentlige goder, og som gir "
"dem muligheter og belønninger for å gjøre det, lar dem ofte arbeide sammen "
"bedre enn neoklassisk økonomi ville forutse».<placeholder type=\"footnote\" "
"id=\"0\"/> Når vi erkjenner at folk ofte er motivert av noe annet enn "
"finansiell egeninteresse, designer vi våre bestrebelser på måter som "
"stimulerer og fremhever våre sosiale instinkter."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2796
msgid "Surowiecki, Wisdom of Crowds, 124."
msgstr "Surowiecki, Wisdom of Crowds, 124."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2786
msgid ""
"Rather than trying to exert control over people’s behavior, this mode of "
"operating requires a certain level of trust. We might not realize it, but "
"our daily lives are already built on trust. As Surowiecki wrote in The "
"Wisdom of Crowds, “It’s impossible for a society to rely on law alone to "
"make sure citizens act honestly and responsibly. And it’s impossible for any "
"organization to rely on contracts alone to make sure that its managers and "
"workers live up to their obligation.” Instead, we largely trust that people—"
"mostly strangers—will do what they are supposed to do.<placeholder type="
"\"footnote\" id=\"0\"/> And most often, they do."
msgstr ""
"Snarere enn å prøve å utøve kontroll over menneskers atferd, krever denne "
"arbeidsmåten en viss grad av tillit. Vi innser det kanskje, men våre daglige "
"liv er allerede bygget på tillit. Som Surowiecki skrev i The visdom of "
"Crowds; «Det er umulig for et samfunn å stole på loven alene for å sikre at "
"borgere opptrer ærlig og ansvarlig. Det er også umulig for noen organisasjon "
"å stole på kontrakter alene for å sørge for at dens ledere og arbeidere "
"lever opp til sine forpliktelser». I stedet stoler vi i stor grad på at folk "
"– for det meste fremmede – vil gjøre hva som forventes av dem.<placeholder "
"type=\"footnote\" id=\"0\"/>  Som oftest gjør de det."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2801
msgid "Treat humans like, well, humans"
msgstr "Å behandle mennesker som, vel, mennesker"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2806
msgid "Kleon, Show Your Work, 127."
msgstr "Kleon, Show Your Work, 127."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2814
msgid "Palmer, Art of Asking, 121."
msgstr "Palmer, Art of Asking, 121."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2803
msgid ""
"For creators, treating people as humans means not treating them like fans. "
"As Kleon says, “If you want fans, you have to be a fan first.”<placeholder "
"type=\"footnote\" id=\"0\"/> Even if you happen to be one of the few to "
"reach celebrity levels of fame, you are better off remembering that the "
"people who follow your work are human, too. Cory Doctorow makes a point to "
"answer every single email someone sends him.  Amanda Palmer spends vast "
"quantities of time going online to communicate with her public, making a "
"point to listen just as much as she talks.<placeholder type=\"footnote\" id="
"\"1\"/>"
msgstr ""
"For innholdsleverandører betyr å behandle folk som mennesker ikke å behandle "
"dem som fans. Som Kleon sier, «Hvis du vil ha fans, må du først være en fan«."
"<placeholder type=\"footnote\" id=\"0\"/> Selv om du tilfeldigvis blir en av "
"de få som når en kjendisberømmelse, er det bedre om du husker at folk som "
"følger arbeidet ditt, også er menneskelige. Cory Doctorow gjør et poeng av å "
"svare på hver enkelt e-post noen sender ham. Amanda Palmer bruker store "
"deler av tiden på nettet til å kommunisere med sitt publikum, og gjør et "
"poeng av å lytte like mye som hun snakker.<placeholder type=\"footnote\" id="
"\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2818
msgid ""
"The same idea goes for businesses and organizations. Rather than automating "
"its customer service, the music platform Tribe of Noise makes a point to "
"ensure its employees have personal, one-on-one interaction with users."
msgstr ""
"Den samme ideen gjelder for bedrifter og organisasjoner. I stedet for å "
"automatisere sin kundeservice, gjør musikkplattformen Tribe of Noise et "
"poeng av å sikre at deres ansatte har en personlig, en-til-en-interaksjon "
"med brukere."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2829
msgid "Ariely, Predictably Irrational, 87."
msgstr "Ariely, Predictably Irrational, 87."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2839
msgid "Ibid., 105."
msgstr "Ibid., 105."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2824
msgid ""
"When we treat people like humans, they typically return the gift in kind. "
"It’s called karma. But social relationships are fragile. It is all too easy "
"to destroy them if you make the mistake of treating people as anonymous "
"customers or free labor.<placeholder type=\"footnote\" id=\"0\"/> Platforms "
"that rely on content from contributors are especially at risk of creating an "
"exploitative dynamic. It is important to find ways to acknowledge and pay "
"back the value that contributors generate. That does not mean you can solve "
"this problem by simply paying contributors for their time or contributions. "
"As soon as we introduce money into a relationship—at least when it takes a "
"form of paying monetary value in exchange for other value—it can "
"dramatically change the dynamic.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Når vi behandler folk som mennesker, vil de vanligvis behandle oss på samme "
"måte. Det kalles karma. Men sosiale relasjoner er skjøre. Det er altfor lett "
"å ødelegge dem hvis du gjør den feilen å behandle folk som anonyme kunder "
"eller gratisarbeidere.<placeholder type=\"footnote\" id=\"0\"/>  Plattformer "
"som bruker innhold fra bidragsytere er spesielt i fare for å skape en "
"dynamikk som utnytter.  Det er viktig å finne måter å anerkjenne og betale "
"tilbake verdien bidragsytere genererer. Det betyr ikke at du kan løse dette "
"problemet bare ved å, i enkelhet, betale bidragsytere for deres tid eller "
"bidrag. Så snart vi introduserer penger inn i et forhold – i det minste når "
"det tar form av å betale en pengeverdi i bytte for en annen verdi - kan det "
"dramatisk endre dynamikken.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2844
msgid "State your principles and stick to them"
msgstr "Legg frem dine prinsipper og hold deg til dem"

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2846
msgid ""
"Being Made with Creative Commons makes a statement about who you are and "
"what you do. The symbolism is powerful. Using Creative Commons licenses "
"demonstrates adherence to a particular belief system, which generates "
"goodwill and connects like-minded people to your work. Sometimes people will "
"be drawn to endeavors that are Made with Creative Commons as a way of "
"demonstrating their own commitment to the Creative Commons value system, "
"akin to a political statement. Other times people will identify and feel "
"connected with an endeavor’s separate social mission. Often both."
msgstr ""
"Når du bruker Made with Creative Commons, fastslår du hvem du er og hva du "
"gjør. Symbolikken er kraftig. Med Creative Commons-lisenser demonstrerer du "
"tilslutning til en bestemt trossystem, som genererer goodwill og knytter "
"likesinnede til arbeidet ditt. Noen ganger trekkes folk til innhold som er "
"Made with Creative Commons som en måte å demonstrere sin egen forpliktelse "
"overfor verdisystemet til Creative Commons, som en politisk erklæring. Andre "
"ganger vil folk vil identifisere seg med, og føle seg knyttet til innholdets "
"separate sosiale oppgave. Ofte begge."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2858
msgid ""
"The expression of your values doesn’t have to be implicit. In fact, many of "
"the people we interviewed talked about how important it is to state your "
"guiding principles up front.  Lumen Learning attributes a lot of their "
"success to having been outspoken about the fundamental values that guide "
"what they do. As a for-profit company, they think their expressed commitment "
"to low-income students and open licensing has been critical to their "
"credibility in the OER (open educational resources) community in which they "
"operate."
msgstr ""
"Uttrykket for dine verdier trenger ikke å være implisitt. Faktisk snakket "
"mange av menneskene vi intervjuet om hvor viktig det er å angi dine førende "
"prinsipper på forhånd. Lumen Learning tillegger mye av sin suksess på at de "
"har vært frittalende om de grunnleggende verdiene som styrer hva de gjør. "
"Som et for-fortjeneste-selskap, mener de at deres uttrykte forpliktelse "
"overfor lavinntekt-studenter og åpen lisensiering har vært avgjørende for "
"deres troverdighet i OER-samfunnet (åpne pedagogiske ressurser) der de "
"arbeider."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2873
msgid "Ibid., 36."
msgstr "Ibid., 36."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2869
msgid ""
"When your end goal is not about making a profit, people trust that you "
"aren’t just trying to extract value for your own gain. People notice when "
"you have a sense of purpose that transcends your own self-interest."
"<placeholder type=\"footnote\" id=\"0\"/> It attracts committed employees, "
"motivates contributors, and builds trust."
msgstr ""
"Når målet ditt ikke handler om å gjøre fortjeneste , stoler folk på at du "
"ikke bare prøver å bruke verdien til din egen vinning. Folk merker når du "
"har en hensikt som overskrider din egeninteresse.<placeholder type=\"footnote"
"\" id=\"0\"/> Det tiltrekker engasjerte ansatte, motiverte bidragsytere, og "
"bygger tillit."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2879
msgid "Build a community"
msgstr "Å bygge et fellesskap"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2887
msgid ""
"Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media, "
"2012), 36."
msgstr ""
"Jono Bacon, The Art of Community, 2. utgave (Sebastopol, CA: O’Reilly Media, "
"2012), 36."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2881
msgid ""
"Endeavors that are Made with Creative Commons thrive when community is built "
"around what they do. This may mean a community collaborating together to "
"create something new, or it may simply be a collection of like-minded people "
"who get to know each other and rally around common interests or beliefs."
"<placeholder type=\"footnote\" id=\"0\"/> To a certain extent, simply being "
"Made with Creative Commons automatically brings with it some element of "
"community, by helping connect you to like-minded others who recognize and "
"are drawn to the values symbolized by using CC."
msgstr ""
"Innhold laget med Made with Creative Commons blomstrer når allmenneier er "
"bygget rundt det de gjør. Dette kan bety at et fellesskap samarbeider om å "
"skape noe nytt, eller det kan være en samling av likesinnede som blir kjent "
"med hverandre, og samles rundt felles interesser eller oppfatninger."
"<placeholder type=\"footnote\" id=\"0\"/> Til en viss grad bringer Made with "
"Creative Commons automatisk med seg elementer av fellesskap, med hjelp til å "
"koble deg til likesinnede som gjenkjenner og trekkes til verdiene som "
"symboliseres ved å bruke CC."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2903
msgid "Palmer, Art of Asking, 98."
msgstr "Palmer, Art of Asking, 98."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2910
msgid "Whitehurst, Open Organization, 34."
msgstr "Whitehurst, Open Organization, 34."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2895
msgid ""
"To be sustainable, though, you have to work to nurture community. People "
"have to care—about you and each other. One critical piece to this is "
"fostering a sense of belonging. As Jono Bacon writes in The Art of "
"Community, “If there is no belonging, there is no community.” For Amanda "
"Palmer and her band, that meant creating an accepting and inclusive "
"environment where people felt a part of their “weird little "
"family.”<placeholder type=\"footnote\" id=\"0\"/> For organizations like Red "
"Hat, that means connecting around common beliefs or goals. As the CEO Jim "
"Whitehurst wrote in The Open Organization, “Tapping into passion is "
"especially important in building the kinds of participative communities that "
"drive open organizations.”<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"For å være bærekraftig må du jobbe hardt for å livnære allmenneiet. Folk må "
"bry seg – om deg og hverandre. Én kritisk brikke i dette er å få frem "
"følelsen av tilhørighet. Som Jono Bacon skriver i The Art of Community: "
"«Hvis det ikke er  tilhørighet, er det ikke noe fellesskap». For Amanda "
"Palmer og hennes band betydde dette å lage og godta et inkluderende miljø "
"der folk følte seg som del av deres «lille rare familie.»<placeholder type="
"\"footnote\" id=\"0\"/>  For organisasjoner som Red Hat, betyr det å samle "
"seg rundt felles oppfatninger eller mål. Som administrerende direktør Jim "
"Whitehurst skrev i The Open Organization: «Å etablere følelsesmessig "
"tilknytning er spesielt viktig for bygging av de typer deltakende fellesskap "
"som driver åpne organisasjoner».<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2922
msgid "Surowiecki, Wisdom of Crowds, 200."
msgstr "Surowiecki, Wisdom of Crowds, 200."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2926
msgid "Bollier, Think Like a Commoner, 29."
msgstr "Bollier, Think Like a Commoner, 29."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2914
msgid ""
"Communities that collaborate together take deliberate planning. Surowiecki "
"wrote, “It takes a lot of work to put the group together. It’s difficult to "
"ensure that people are working in the group’s interest and not in their own. "
"And when there’s a lack of trust between the members of the group (which "
"isn’t surprising given that they don’t really know each other), considerable "
"energy is wasted trying to determine each other’s bona fides.”<placeholder "
"type=\"footnote\" id=\"0\"/> Building true community requires giving people "
"within the community the power to create or influence the rules that govern "
"the community.<placeholder type=\"footnote\" id=\"1\"/> If the rules are "
"created and imposed in a top-down manner, people feel like they don’t have a "
"voice, which in turn leads to disengagement."
msgstr ""
"Allmenneier som samarbeider planlegger bevisst. Surowiecki skrev: «Det "
"krever mye arbeid å få satt sammen gruppen. Det er vanskelig å sikre at folk "
"jobber i gruppens interesse, og ikke i sin egen. Og når det er mangel på "
"tillit mellom medlemmer av gruppen (som ikke overraskende gitt at de ikke "
"egentlig kjenner hverandre), er en betraktelig del av energien bortkastet "
"ved å prøve å avklare hverandres ærlige interesser».<placeholder type="
"\"footnote\" id=\"0\"/> Å bygge ekte fellesskap forutsetter å gi  folk i "
"fellesskapet makt til å lage eller påvirke reglene som styrer fellesskapet."
"<placeholder type=\"footnote\" id=\"1\"/> Hvis reglene lages og innføres "
"ovenfra og ned, føler folk at de ikke har noe å si, som igjen fører til "
"tilbaketrekning."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2932
msgid ""
"Community takes work, but working together, or even simply being connected "
"around common interests or values, is in many ways what sharing is about."
msgstr ""
"Fellesskap krever arbeid, men å arbeide sammen, eller ganske enkelt å være "
"knyttet sammen rundt felles interesser eller verdier, er på mange måter hva "
"deling betyr."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2938
msgid "Give more to the commons than you take"
msgstr "Gi mer til fellesskapet enn du tar"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2949
msgid ""
"Giana Eckhardt and Fleura Bardhi, “The Sharing Economy Isn’t about Sharing "
"at All,” Harvard Business Review (website), January 28, 2015, <ulink url="
"\"http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all\"/>."
msgstr ""
"Giana Eckhardt og Fleura Bardhi, “The Sharing Economy Isn’t about Sharing at "
"All,” Harvard Business Review (website), 28. januar 2015, <ulink url="
"\"http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all\"/>."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2957
msgid ""
"Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with "
"new epilogue (New York: Portfolio, 2012)."
msgstr ""
"Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, ny utgave med "
"ny epolog (New York: Portfolio, 2012)."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2940
msgid ""
"Conventional wisdom in the marketplace dictates that people should try to "
"extract as much money as possible from resources. This is essentially what "
"defines so much of the so-called sharing economy. In an article on the "
"Harvard Business Review website called “The Sharing Economy Isn’t about "
"Sharing at All,” authors Giana Eckhardt and Fleura Bardhi explained how the "
"anonymous market-driven trans-actions in most sharing-economy businesses are "
"purely about monetizing access.<placeholder type=\"footnote\" id=\"0\"/> As "
"Lisa Gansky put it in her book The Mesh, the primary strategy of the sharing "
"economy is to sell the same product multiple times, by selling access rather "
"than ownership.<placeholder type=\"footnote\" id=\"1\"/> That is not sharing."
msgstr ""
"Tradisjonell markedsvisdom tilsier at folk bør prøve å trekke ut så mye "
"penger som mulig fra ressursene. Dette er egentlig hva som definerer mye av "
"den såkalte delingsøkonomien. I en artikkel på nettsiden til Harvard "
"Business Review, kalt «The Sharing Economy Isn’t about Sharing at All», "
"forklarte forfatterne Giana Eckhardt og Fleura Bardhi hvordan anonyme "
"markedsdrevne transaksjoner i de fleste delingsøkonomibedrifter bare er "
"myntet på å tjene penger.<placeholder type=\"footnote\" id=\"0\"/> Som Lisa "
"Gansky førte det i pennen i sin bok The Mesh, er delingsøkonomiens primære "
"strategi å selge det samme produktet flere ganger ved å selge adgang i "
"stedet for eie.<placeholder type=\"footnote\" id=\"1\"/> Det er ikke deling."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2973
msgid ""
"David Lee, “Inside Medium: An Attempt to Bring Civility to the Internet,” "
"BBC News, March 3, 2016, <ulink url=\"http://www.bbc.com/news/"
"technology-35709680\"/>."
msgstr ""
"David Lee, “Inside Medium: An Attempt to Bring Civility to the Internet,” "
"BBC News, 3. mars 2016, <ulink url=\"http://www.bbc.com/news/"
"technology-35709680\"/>."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2963
msgid ""
"Sharing requires adding as much or more value to the ecosystem than you "
"take. You can’t simply treat open content as a free pool of resources from "
"which to extract value. Part of giving back to the ecosystem is contributing "
"content back to the public under CC licenses. But it doesn’t have to just be "
"about creating content; it can be about adding value in other ways.  The "
"social blogging platform Medium provides value to its community by "
"incentivizing good behavior, and the result is an online space with "
"remarkably high-quality user-generated content and limited trolling."
"<placeholder type=\"footnote\" id=\"0\"/> Opendesk contributes to its "
"community by committing to help its designers make money, in part by "
"actively curating and displaying their work on its platform effectively."
msgstr ""
"Deling krever å legge til lik mengde verdi eller mer i økosystemet enn du "
"tar ut. Du kan ikke bare behandle åpent innhold som en gratis ansamling "
"ressurser å nyttegjøre deg av verdien av. En del av det å gi tilbake til "
"økosystemet er å bidra med innhold tilbake til offentligheten med CC-"
"lisenser. Det trenger ikke å være skaping av innhold; det kan være å øke "
"verdien på andre måter. Den sosiale bloggingsplattformen Medium utgjør verdi "
"for sitt fellesskap ved å fremme god oppførsel, resultatet er et nettsted "
"med bemerkelsesverdig brukergenerert innhold av høy kvalitet, og begrenset "
"forsøpling.<placeholder type=\"footnote\" id=\"0\"/> Opendesk bidrar til "
"sine fellesskap ved å hjelpe sine designere å tjene penger, delvis ved å "
"organisere og effektivt vise arbeidet deres på sin plattform."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2982
msgid ""
"In all cases, it is important to openly acknowledge the amount of value you "
"add versus that which you draw on that was created by others. Being "
"transparent about this builds credibility and shows you are a contributing "
"player in the commons. When your endeavor is making money, that also means "
"apportioning financial compensation in a way that reflects the value "
"contributed by others, providing more to contributors when the value they "
"add outweighs the value provided by you."
msgstr ""
"I alle tilfeller er det viktig å åpent erkjenne hvor stor verdi du legger "
"til, sett opp mot det du trekker veksel på som er laget av andre. Å være "
"åpen om dette bygger troverdighet og viser du er en medvirkende deltaker i "
"allmennseiet. Når din oppgave er å tjene penger, som også betyr å fordele "
"økonomisk kompensasjon på en måte som gjenspeiler verdien andre har bidratt "
"med, og gir mer til bidragsytere når verdien de bidrar med er større verdien "
"du leverer."

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2993
msgid "Involve people in what you do"
msgstr "Involver folk i det du gjør"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2998
msgid "Anderson, Makers, 148."
msgstr "Anderson, Makers, 148."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3002
msgid "Shirky, Cognitive Surplus, 164."
msgstr "Shirky, Cognitive Surplus, 164."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3009
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3073
msgid "Whitehurst, foreword to Open Organization."
msgstr "Whitehurst, forord til Open Organization."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2995
msgid ""
"Thanks to the Internet, we can tap into the talents and expertise of people "
"around the globe. Chris Anderson calls it the Long Tail of talent."
"<placeholder type=\"footnote\" id=\"0\"/> But to make collaboration work, "
"the group has to be effective at what it is doing, and the people within the "
"group have to find satisfaction from being involved.<placeholder type="
"\"footnote\" id=\"1\"/> This is easier to facilitate for some types of "
"creative work than it is for others. Groups tied together online collaborate "
"best when people can work independently and asynchronously, and particularly "
"for larger groups with loose ties, when contributors can make simple "
"improvements without a particularly heavy time commitment.<placeholder type="
"\"footnote\" id=\"2\"/>"
msgstr ""
"Takket være Internett, kan vi utnytte talentene og ekspertisen til folk over "
"hele verden. Chris Anderson kaller det «en lang hale» av talent.<placeholder "
"type=\"footnote\" id=\"0\"/> Men for å få samarbeid til å virke, må gruppen "
"være effektiv i hva den gjør, og folk i gruppen må finne tilfredshet i å "
"være involvert.<placeholder type=\"footnote\" id=\"1\"/> Dette er enklere å "
"få til for noen typer kreative oppgaver enn andre. Grupper som er knyttet "
"sammen på nettet samarbeider best når folk kan arbeide uavhengig og "
"asynkront, og særlig i større grupper med løselig knyttede bånd, der "
"bidragsytere kan gjøre enkle forbedringer uten å beslaglegge mye tid."
"<placeholder type=\"footnote\" id=\"2\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3022
msgid "Shirky, Cognitive Surplus, 144."
msgstr "Shirky, Cognitive Surplus, 144."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3013
msgid ""
"As the success of Wikipedia demonstrates, editing an online encyclopedia is "
"exactly the sort of activity that is perfect for massive co-creation because "
"small, incremental edits made by a diverse range of people acting on their "
"own are immensely valuable in the aggregate. Those same sorts of small "
"contributions would be less useful for many other types of creative work, "
"and people are inherently less motivated to contribute when it doesn’t "
"appear that their efforts will make much of a difference.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"Suksessen til Wikipedia viser, å redigere et leksikon på nettet er akkurat "
"typen aktivitet som er perfekt for massivt samarbeid fordi små, trinnvise "
"redigeringer laget av en broket forsamling av folk som handler på egen hånd, "
"er svært verdifullt i sum. Samme slags små bidrag vil være mindre nyttig for "
"mange andre typer skapende arbeid, og folk iboende er mindre motivert til å "
"bidra, når det ikke vises at deres innsats utgjør noen særlig forskjell."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3034
msgid "Ibid., 154."
msgstr "Ibid., 154."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3046
msgid "Palmer, Art of Asking, 163."
msgstr "Palmer, Art of Asking, 163."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3026
msgid ""
"It is easy to romanticize the opportunities for global cocreation made "
"possible by the Internet, and, indeed, the successful examples of it are "
"truly incredible and inspiring.  But in a wide range of circumstances—"
"perhaps more often than not—community cocreation is not part of the "
"equation, even within endeavors built on CC content. Shirky wrote, "
"“Sometimes the value of professional work trumps the value of amateur "
"sharing or a feeling of belonging.<placeholder type=\"footnote\" id=\"0\"/> "
"The textbook publisher OpenStax, which distributes all of its material for "
"free under CC licensing, is an example of this dynamic. Rather than tapping "
"the community to help cocreate their college textbooks, they invest a "
"significant amount of time and money to develop professional content. For "
"individual creators, where the creative work is the basis for what they do, "
"community cocreation is only rarely a part of the picture. Even musician "
"Amanda Palmer, who is famous for her openness and involvement with her fans, "
"said, “The only department where I wasn’t open to input was the writing, the "
"music itself.”<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Det er lett å romantisere mulighetene for en global samlet innsats gjort "
"mulig gjennom Internett, og faktisk, de vellykkede eksemplene på det er "
"virkelig utrolige og inspirerende. Men i en rekke tilfeller, kanskje oftere "
"enn ikke – allmenneier basert på samlet innsats inngår ikke i ligningen, "
"selv med innsats bygget på CC-innhold. Shirky skrev, «Noen ganger trumfer "
"verdien av profesjonelt arbeid amatørdeling eller en følelse av tilhørighet."
"<placeholder type=\"footnote\" id=\"0\"/> Lærebokutgiveren OpenStax, som "
"distribuerer alt sitt materiale gratis med CC-lisensiering, er et eksempel "
"på denne dynamikken. I stedet for å tappe fellesskapet for samlede bidrag "
"til sine college-lærebøker, investerer de en betydelig mengde tid og penger "
"på å utvikle faglig innhold.  For individuelle innholdsleverandører, der det "
"kreative arbeidet er grunnlaget for hva de gjør, er samlede innsatser kun "
"sjeldent sett en del av bildet. Selv musikeren Amanda Palmer, kjent for sin "
"åpenhet og gode forhold til fansen, sa, «Det eneste området der jeg  ikke "
"var åpen for innspill var i skrivingen, musikken i seg selv». <placeholder "
"type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3057
msgid "Anderson, Makers, 173."
msgstr "Anderson, Makers, 173."

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3064
msgid ""
"Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential "
"within Us All (New York: Crown, 2013), 82."
msgstr ""
"Tom Kelley og David Kelley, Creative Confidence: Unleashing the Potential "
"within Us All (New York: Crown, 2013), 82."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3050
msgid ""
"While we tend to immediately think of cocreation and remixing when we hear "
"the word collaboration, you can also involve others in your creative process "
"in more informal ways, by sharing half-baked ideas and early drafts, and "
"interacting with the public to incubate ideas and get feedback. So-called "
"“making in public” opens the door to letting people feel more invested in "
"your creative work.<placeholder type=\"footnote\" id=\"0\"/> And it shows a "
"nonterritorial approach to ideas and information. Stephen Covey (of The 7 "
"Habits of Highly Effective People fame) calls this the abundance mentality—"
"treating ideas like something plentiful—and it can create an environment "
"where collaboration flourishes.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Mens tankene umiddelbart rettes mot samlet innsats og remiksing når vi hører "
"ordet samarbeid, kan du også involvere andre i kreative prosesser på mer "
"uformelle måter, ved å dele halvferdige ideer og tidlige utkast, og "
"samhandling med publikum i det å ruge ut ideer og få tilbakemeldinger. "
"Såkalt «offentlighetslaging» åpner døren for å la folk føle seg mer "
"involvert i ditt kreative arbeid.<placeholder type=\"footnote\" id=\"0\"/> "
"Og det viser en ikke-territoriell tilnærming til ideer og informasjon. "
"Stephen Covey (i The 7 Habits of Highly Effective People fame) kaller dette "
"overflodsmentalitet – å behandle ideer som noe rikelig, og det kan skape et "
"miljø der samarbeid blomstrer.<placeholder type=\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3081
msgid ""
"Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of "
"Collaborative Consumption (New York: Harper Business, 2010), 188."
msgstr ""
"Rachel Botsman og Roo Rogers, What’s Mine Is Yours: The Rise of "
"Collaborative Consumption (New York: Harper Business, 2010), 188."

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3070
msgid ""
"There is no one way to involve people in what you do. They key is finding a "
"way for people to contribute on their terms, compelled by their own "
"motivations.<placeholder type=\"footnote\" id=\"0\"/> What that looks like "
"varies wildly depending on the project. Not every endeavor that is Made with "
"Creative Commons can be Wikipedia, but every endeavor can find ways to "
"invite the public into what they do. The goal for any form of collaboration "
"is to move away from thinking of consumers as passive recipients of your "
"content and transition them into active participants.<placeholder type="
"\"footnote\" id=\"1\"/>"
msgstr ""
"Det er ikke bare en måte å involvere folk i hva du gjør. Det sentrale er å "
"finne en måte for folk å bidra på deres betingelser, nødet av sin egen "
"motivasjon.<placeholder type=\"footnote\" id=\"0\"/> Hvordan det arter seg, "
"varierer vidt, avhengig av prosjektet. Ikke alle tiltak laget med Creative "
"Commons kan være Wikipedia, men enhver oppgave kan finne måter å invitere "
"publikum med på hva som gjøres. Målet for alle former for samarbeid er å "
"bevege seg bort fra å tenke på forbrukere som passive mottakere av innholdet "
"ditt, og ta imot deres aktive deltagelse.<placeholder type=\"footnote\" id="
"\"1\"/>"

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3090
msgid "The Creative Commons Licenses"
msgstr "Creative Commons-lisensene"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3092
msgid ""
"All of the Creative Commons licenses grant a basic set of permissions. At a "
"minimum, a CC- licensed work can be copied and shared in its original form "
"for noncommercial purposes so long as attribution is given to the creator. "
"There are six licenses in the CC license suite that build on that basic set "
"of permissions, ranging from the most restrictive (allowing only those basic "
"permissions to share unmodified copies for noncommercial purposes)  to the "
"most permissive (reusers can do anything they want with the work, even for "
"commercial purposes, as long as they give the creator credit). The licenses "
"are built on copyright and do not cover other types of rights that creators "
"might have in their works, like patents or trademarks."
msgstr ""
"Alle Creative Commons-lisenser gir et grunnleggende sett tillatelser. Som "
"minstemål kan et CC-lisensiert arbeid kopieres og deles i opprinnelig form "
"for ikke-kommersielle formål, så lenge henvisning er gitt til den som har "
"levert innholdet. Det er seks lisenser i CC sine lisenspakker som bygger på "
"det grunnleggende settet med tillatelser, alt fra de mest restriktive "
"(tillatelse av kun grunnleggende tilgang til å dele uforandrede kopier for "
"ikke-kommersielle formål) til den mest romslige (gjenbrukere kan gjøre hva "
"de vil med arbeidet, til og med for kommersielle formål, så lenge de "
"krediterer opphavspersonen). Lisensene er bygget på opphavsrett, og dekker "
"ikke andre typer rettigheter bidragsytere kan ha til sine arbeider, som "
"patenter eller varemerker."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3106
msgid "Here are the six licenses:"
msgstr "Her er de seks lisensene:"

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3110
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008D83BF99FC0821C489.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008D83BF99FC0821C489.png\" width=\"40.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3119
msgid ""
"The Attribution license (CC BY) lets others distribute, remix, tweak, and "
"build upon your work, even commercially, as long as they credit you for the "
"original creation. This is the most accommodating of licenses offered. "
"Recommended for maximum dissemination and use of licensed materials."
msgstr ""
"Attribusjonslisensen (CC BY) lar andre distribuere, remikse, justere og "
"bygge videre på ditt arbeid, også kommersielt, så lenge de krediterer deg "
"for det opprinnelige arbeidet. Dette er den mest imøtekommende lisensen som "
"tilbys. Anbefalt for maksimal spredning og bruk av lisensiert materiale."

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3127
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008DFD3592CB17C4EC38.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008DFD3592CB17C4EC38.png\" width=\"40.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3136
msgid ""
"The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and "
"build upon your work, even for commercial purposes, as long as they credit "
"you and license their new creations under identical terms. This license is "
"often compared to “copyleft” free and open source software licenses. All new "
"works based on yours will carry the same license, so any derivatives will "
"also allow commercial use."
msgstr ""
"Med Attribution-Share-Alike-lisensen (CC BY-SA) kan andre remikse, "
"finjustere og bygge videre på ditt arbeid, selv til kommersielle formål, så "
"lenge de krediterer deg og lisensierer sine nye bidrag på samme vilkår. "
"Denne lisensen er ofte sammenlignet med «copyleft»-programvarelisenser med "
"gratis og åpen kildekode GNU(GPL). Alle nye arbeider basert på ditt vil ha "
"den samme lisensen, så alle derivater kan også tillate kommersielt bruk."

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3146
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008D254882DE24793FEA.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008D254882DE24793FEA.png\" width=\"40.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3155
msgid ""
"The Attribution-NoDerivs license (CC BY-ND) allows for redistribution, "
"commercial and noncommercial, as long as it is passed along unchanged with "
"credit to you."
msgstr ""
"Attribution-NoDerivs-lisensen (CC BY-ND) tillater videre distribusjon, "
"kommersielt og ikke-kommersielt, så lenge arbeidet leveres videre uendret og "
"kreditert deg."

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3161
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png\" width=\"40.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3170
msgid ""
"The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak, "
"and build upon your work noncommercially. Although their new works must also "
"acknowledge you, they don’t have to license their derivative works on the "
"same terms."
msgstr ""
"Attribution-NonCommercial-lisensen (CC BY-NC) lar andre remikse, finjustere, "
"og ikke-kommersielt bygge videre på arbeidet. Selv om deres nye arbeider "
"også må anerkjenne deg, trenger de ikke å lisensiere sine avledede arbeider "
"på samme vilkår."

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3177
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008D16DA603376395620.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008D16DA603376395620.png\" width=\"40.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3186
msgid ""
"The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others "
"remix, tweak, and build upon your work noncommercially, as long as they "
"credit you and license their new creations under the same terms."
msgstr ""
"Attribution-NonCommercial-ShareAlike-lisensen (CC BY-NC-SA) lar andre "
"remikse, finjustere og bygge på arbeidet ditt ikke-kommersielt, så lenge de "
"krediterer deg, og lisensierer sine nye arbeider på samme vilkår."

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3193
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008DC3FEF92B21310965.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008DC3FEF92B21310965.png\" width=\"40.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3202
msgid ""
"The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most "
"restrictive of our six main licenses, only allowing others to download your "
"works and share them with others as long as they credit you, but they can’t "
"change them or use them commercially."
msgstr ""
"Attribution-NonCommercial-NoDerivs-lisensen (CC BY-NC-ND) er den mest "
"restriktive av våre seks viktigste lisenser, og tillater bare andre å laste "
"ned dine verk, og dele dem med andre så lenge de krediterer deg, men de kan "
"ikke endre dem eller bruke dem kommersielt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3209
msgid ""
"In addition to these six licenses, Creative Commons has two public-domain "
"tools—one for creators and the other for those who manage collections of "
"existing works by authors whose terms of copyright have expired:"
msgstr ""
"I tillegg til disse seks lisenser, har Creative Commons to offentlige "
"verktøy – en for innholdsleverandører og den andre for dem som håndterer "
"samlinger av eksisterende arbeider der opphavsrettighetene til bidragsyterne "
"har utløpt:"

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3216
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001900000008DBE3414994CD27786.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001900000008DBE3414994CD27786.png\" width=\"40.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3225
msgid ""
"CC0 enables authors and copyright owners to dedicate their works to the "
"worldwide public domain (“no rights reserved”)."
msgstr ""
"CC0 gjør det mulig for innholdsleverandører og rettighetshavere å tilegne "
"sine arbeider til det verdensomspennende offentlige domenet («ingen "
"rettigheter reservert»)."

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3230
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001900000008D36DCD649C5B1411F.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001900000008D36DCD649C5B1411F.png\" width=\"40.0%\"/> "
"</imageobject>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3239
msgid ""
"The Creative Commons Public Domain Mark facilitates the labeling and "
"discovery of works that are already free of known copyright restrictions."
msgstr ""
"Creative Commons Public Domain Mark muliggjør merkingen, og å oppdage verk "
"som allerede er fri for kjente opphavsrettsrestriksjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3244
msgid ""
"In our case studies, some use just one Creative Commons license, others use "
"several. Attribution (found in thirteen case studies)  and Attribution-"
"ShareAlike (found in eight studies) were the most common, with the other "
"licenses coming up in four or so case studies, including the public-domain "
"tool CC0. Some of the organizations we profiled offer both digital content "
"and software: by using open-source-software licenses for the software code "
"and Creative Commons licenses for digital content, they amplify their "
"involvement with and commitment to sharing."
msgstr ""
"I våre referansestudier bruker noen bare én Creative Commons-lisens, andre "
"bruker flere. Attribution (funnet i tretten referansestudier) og Attribution-"
"ShareAlike (funnet i åtte studier) var de vanligste. De andre lisenser "
"forekom i rundt fire referansestudier, inkludert det offentlig-domene-"
"verktøyet CC0. Noen organisasjoner vi undersøkte tilbyr både digitalt "
"innhold og programvare. Ved å bruke åpen-kildekode-lisenser for "
"programvarekoden og Creative Commons-lisenser for digitalt innhold, "
"forsterker de sitt engasjement og forpliktelse til å dele."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3255
#, fuzzy
msgid ""
"There is a popular misconception that the three NonCommercial licenses "
"offered by CC are the only options for those who want to make money off "
"their work. As we hope this book makes clear, there are many ways to make "
"endeavors that are Made with Creative Commons sustainable. Reserving "
"commercial rights is only one of those ways. It is certainly true that a "
"license that allows others to make commercial use of your work (CC BY, CC BY-"
"SA, and CC BY-ND) forecloses some traditional revenue streams. If you apply "
"an Attribution (CC BY) license to your book, you can’t force a film company "
"to pay you royalties if they turn your book into a feature-length film, or "
"prevent another company from selling physical copies of your work."
msgstr ""
"Det er en vidtfavnende misforståelse at de tre ikke-kommersielle lisensene "
"tilbudt av CC er de eneste alternativene for dem som ønsker å tjene penger "
"på arbeidet sitt. Vi håper denne boka bringer på det rene at det er mange "
"måter å fremme bærekraftigheten i tiltak som er laget med Creative Commons. "
"Å reservere seg kommersielle rettigheter er bare én av de måtene. Det er "
"sannelig sant at en lisens som tillater andre kommersiell bruk av ditt verk "
"(CC BY, CC BY-SA, og CC BY-ND) forkaster noen tradisjonelle inntektsårer. "
"Hvis du legger til en nevnelse (CC BY) -lisens til din bok, kan du ikke "
"tvinge et filmselskap til å betale deg bruksgebyr hvis de gjør din bok til "
"en helaftens film, eller forhindre et annet selskap å selge fysiske kopier "
"av ditt verk."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3269
msgid ""
"The decision to choose a NonCommercial and/or NoDerivs license comes down to "
"how much you need to retain control over the creative work. The "
"NonCommercial and NoDerivs licenses are ways of reserving some significant "
"portion of the exclusive bundle of rights that copyright grants to creators. "
"In some cases, reserving those rights is important to how you bring in "
"revenue. In other cases, creators use a NonCommercial or NoDerivs license "
"because they can’t give up on the dream of hitting the creative jackpot.  "
"The music platform Tribe of Noise told us the NonCommercial licenses were "
"popular among their users because people still held out the dream of having "
"a major record label discover their work."
msgstr ""
"Beslutningen om å velge en NonCommercial- (ikke-kommersiell) og/eller "
"NoDerivs-lisens (ikke-derivate lisenser) resulterer i en vurdering av hvor "
"mye du trenger å beholde kontrollen over det kreative arbeidet.  "
"NonCommercial- and NoDerivs-lisensene er måter å reservere en vesentlig del "
"av det eksklusive knippet av rettigheter som opphavsrett sikrer "
"innholdsleverandører. I noen tilfeller er å reservere disse rettighetene "
"viktig for hvordan du bringer inn inntekter. I andre tilfeller bruker "
"innholdsleverandørene NonCommercial- og NoDerivs-lisensene fordi de ikke kan "
"gi opp drømmen om å treffe den kreative storgevinsten. Musikkplattformen "
"Tribe of Noise fortalte oss at NonCommercial-lisensene var populære blant "
"brukerne deres fordi de fortsatt holdt på drømmen om at et større "
"plateselskap ville oppdage arbeidet deres."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3282
msgid ""
"Other times the decision to use a more restrictive license is due to a "
"concern about the integrity of the work. For example, the nonprofit "
"TeachAIDS uses a NoDerivs license for its educational materials because the "
"medical subject matter is particularly important to get right."
msgstr ""
"Andre ganger er beslutningen om å bruke en mer restriktiv lisens på grunn av "
"bekymring for arbeidets integritet. For eksempel bruker det ikke-"
"kommersielle TeachAIDS en NoDerivs-lisens for sine læremidler fordi dette "
"medisinske emnet er særlig viktig å få riktig."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3289
msgid ""
"There is no one right way. The NonCommercial and NoDerivs restrictions "
"reflect the values and preferences of creators about how their creative work "
"should be reused, just as the ShareAlike license reflects a different set of "
"values, one that is less about controlling access to their own work and more "
"about ensuring that whatever gets created with their work is available to "
"all on the same terms. Since the beginning of the commons, people have been "
"setting up structures that helped regulate the way in which shared resources "
"were used. The CC licenses are an attempt to standardize norms across all "
"domains."
msgstr ""
"Det er ikke bare én riktig måte. NonCommercial- og NoDerivs-begrensningene "
"gjenspeiler verdiene og preferansene til innholdsleverandørene om hvordan "
"deres kreative arbeid skal gjenbrukes, akkurat som ShareAlike-lisensen "
"gjenspeiler et annet sett med verdier, som er mindre om å kontrollere "
"tilgangen til sitt eget arbeid og mer om å sikre at det som blir laget med "
"deres arbeid, er tilgjengelig for alle på samme vilkår. Siden starten av "
"allmenneier, har folk laget strukturer som hjalp til å regulere måten delte "
"ressurser ble brukt på. CC-lisensene er et forsøk på å standardisere normer "
"på tvers av alle domener."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3301
msgid "Note"
msgstr "Merk"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3304
msgid ""
"For more about the licenses including examples and tips on sharing your work "
"in the digital commons, start with the Creative Commons page called “Share "
"Your Work” at <ulink url=\"http://creativecommons.org/share-your-work/\"/>."
msgstr ""
"For mer om lisenser, inkludert eksempler og tips om deling av verkene dine i "
"den digitale allmenningen, start med Creative Commons-siden med tittelen "
"«Del ditt verk» på <ulink url=\"http://creativecommons.org/share-your-work/"
"\"/>."

#. type: Content of: <book><part><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3312
msgid "The Case Studies"
msgstr "Referansestudiene"

#. type: Content of: <book><part><partintro><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3315
msgid ""
"The twenty-four case studies in this section were chosen from hundreds of "
"nominations received from Kickstarter backers, Creative Commons staff, and "
"the global Creative Commons community. We selected eighty potential "
"candidates that represented a mix of industries, content types, revenue "
"streams, and parts of the world.  Twelve of the case studies were selected "
"from that group based on votes cast by Kickstarter backers, and the other "
"twelve were selected by us."
msgstr ""
"De tjuefire referansestudiene i denne seksjonen ble valgt ut blant hundrevis "
"av forslag fra hjelpere i Kickstarter, medarbeidere i Creative Commons og "
"det globale Creative Commons-felleskapet. Vi valgte åtti potensielle "
"kandidater som representerte en blanding av bransjer, innholdstyper, "
"inntektsstrømmer, og deler av verden. Tolv referansestudier ble valgt ut fra "
"den gruppen etter avstemning blant Kickstarters hjelpere, og de andre tolv "
"ble valgt av oss."

#. type: Content of: <book><part><partintro><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3325
msgid ""
"We did background research and conducted interviews for each case study, "
"based on the same set of basic questions about the endeavor.  The idea for "
"each case study is to tell the story about the endeavor and the role sharing "
"plays within it, largely the way in which it was told to us by those we "
"interviewed."
msgstr ""
"Vi gjorde bakgrunnsundersøkelser, og gjennomførte intervjuer for hver "
"referansestudie, basert på det samme settet med grunnleggende spørsmål om "
"innsatsen. Fokus for hver referansestudie er å fortelle historien om hvordan "
"oppgaven løses, og hvilken rolle deling spiller i den, i hovedsak som måten "
"det ble fortalt oss på av dem vi intervjuet."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3333
msgid "Arduino"
msgstr "Arduino"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3336
msgid ""
"Arduino is a for-profit open-source electronics platform and computer "
"hardware and software company. Founded in 2005 in Italy."
msgstr ""
"Arduino er en inntektsgivende åpen kildekodeplattform, og et selskap for "
"datautstyr og programvare. Grunnlagt i 2005 i Italia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3341
msgid "<ulink url=\"http://www.arduino.cc\"/>"
msgstr "<ulink url=\"http://www.arduino.cc\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3343
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies (sales of boards, modules, shields, and kits), licensing a trademark "
"(fees paid by those who want to sell Arduino products using their name)"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for fysiske "
"kopier (salg av brett, moduler, skjermer og byggesett), lisensiering av et "
"varemerke (avgifter betalt av dem som ønsker å selge Arduino-produkter med "
"deres navn)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3348
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4189
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 4, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 4. februar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3351
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: David Cuartielles and Tom "
"Igoe, cofounders"
msgstr ""
"<emphasis role=\"strong\">Intervjuobjekter</emphasis>: David Cuartielles og "
"Tom Igoe, medgrunnleggere"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3355
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4196
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4627
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4868
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5149
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5458
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5968
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6221
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6542
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6893
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7433
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7717
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8181
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8957
msgid "Profile written by Paul Stacey"
msgstr "Profilen skrevet av Paul Stacey"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3359
msgid ""
"In 2005, at the Interaction Design Institute Ivrea in northern Italy, "
"teachers and students needed an easy way to use electronics and programming "
"to quickly prototype design ideas. As musicians, artists, and designers, "
"they needed a platform that didn’t require engineering expertise. A group of "
"teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe, "
"Gianluca Martino, and David Mellis, built a platform that combined different "
"open technologies. They called it Arduino. The platform integrated software, "
"hardware, microcontrollers, and electronics. All aspects of the platform "
"were openly licensed: hardware designs and documentation with the "
"Attribution-Share-Alike license (CC BY-SA), and software with the GNU "
"General Public License."
msgstr ""
"I 2005, hos Interaction Design Institute Ivrea i Nord-Italia, trengte lærere "
"og elever en enkel måte å bruke elektronikk og programmering på for raskt å "
"lage prototyper for designideer. Musikere, kunstnere og designere trengte en "
"plattform som ikke krevde ingeniørekspertise. En gruppe lærere og studenter, "
"inkludert Massimo Banzi, David Cuartielles, Tom Igoe, Gianluca Martino og "
"David Mellis, bygget en plattform som kombinerte ulike åpne kildekode-"
"teknologier. De kalte det Arduino. Plattformen integrerte programvare, "
"maskinvare, mikrokontroller og elektronikk. Alle aspekter av plattformen ble "
"åpent lisensiert: Maskinvare og dokumentasjon med Attribution-Share-Alike-"
"lisens (CC BY-SA), og programvare med GNU General Public License."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3373
msgid ""
"Arduino boards are able to read inputs—light on a sensor, a finger on a "
"button, or a Twitter message—and turn it into outputs—activating a motor, "
"turning on an LED, publishing something online. You send a set of "
"instructions to the microcontroller on the board by using the Arduino "
"programming language and Arduino software (based on a piece of open-source "
"software called Processing, a programming tool used to make visual art)."
msgstr ""
"Kretskort fra Arduino kan lese inndata: Lys på en sensor, en finger på en "
"knapp, eller en Twitter-melding, og snu den til utganger, aktivere en motor, "
"slå på en LED, og publisere noe på nettet. Du sender et sett med "
"instruksjoner til mikrokontrollen på kortet ved hjelp av Arduino "
"programmeringsspråk og Arduino programvare (basert på åpen "
"kildekodeprogramvare kalt Prosessing, et programmeringsverktøy som brukes "
"til å lage kunst)."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3383
msgid ""
"“The reasons for making Arduino open source are complicated,” Tom says. "
"Partly it was about supporting flexibility. The open-source nature of "
"Arduino empowers users to modify it and create a lot of different "
"variations, adding on top of what the founders build.  David says this "
"“ended up strengthening the platform far beyond what we had even thought of "
"building.”"
msgstr ""
"«Grunnene for å lage Arduino som åpen kildekode er kompliserte», sier Tom. "
"Delvis handlet det om å støtte fleksibilitet. Opplegget med åpen kildekode "
"hos Arduino gir brukere rett til å endre og lage mange forskjellige "
"varianter, lagt på toppen av det grunnleggende bygget. David sier dette  "
"«endte opp med å styrke plattformen langt utover det vi til og med hadde "
"tenkt å bygge»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3391
msgid ""
"For Tom another factor was the impending closure of the Ivrea design school. "
"He’d seen other organizations close their doors and all their work and "
"research just disappear. Open-sourcing ensured that Arduino would outlive "
"the Ivrea closure. Persistence is one thing Tom really likes about open "
"source. If key people leave, or a company shuts down, an open-source product "
"lives on. In Tom’s view, “Open sourcing makes it easier to trust a product.”"
msgstr ""
"En annen faktor for Tom var den forestående nedleggelsen av Ivrea "
"designskole. Han hadde sett andre organisasjoner lukke dørene, og at alt "
"arbeid og forskning bare forsvant. Åpen kildekode sikret at Arduino ville "
"overleve nedleggelsen av Ivrea. Utholdenhet er den tingen Tom virkelig liker "
"ved åpen kildekode. Hvis nøkkelpersoner drar, eller selskapet avsluttes, "
"lever et åpent kildekode-produkt videre. Etter Toms syn, «Bruk av åpen "
"kildekode gjør det enklere å stole på et produkt»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3400
msgid ""
"With the school closing, David and some of the other Arduino founders "
"started a consulting firm and multidisciplinary design studio they called "
"Tinker, in London. Tinker designed products and services that bridged the "
"digital and the physical, and they taught people how to use new technologies "
"in creative ways.  Revenue from Tinker was invested in sustaining and "
"enhancing Arduino."
msgstr ""
"Da skolen lukket, startet David og noen av de andre Arduino-grunnleggerne et "
"konsulentfirma og et tverrfaglig designstudio de kalte Tinker, i London. "
"Tinker utviklet produkter og tjenester som bygde bro mellom det digitale og "
"fysiske, og de lærte folk hvordan de skulle bruke ny teknologi på kreative "
"måter. Inntekter fra Tinker ble investert i å opprettholde og styrke Arduino."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3409
msgid ""
"For Tom, part of Arduino’s success is because the founders made themselves "
"the first customer of their product. They made products they themselves "
"personally wanted. It was a matter of “I need this thing,” not “If we make "
"this, we’ll make a lot of money.” Tom notes that being your own first "
"customer makes you more confident and convincing at selling your product."
msgstr ""
"For Tom er del av Arduinos suksess at grunnleggerne gjorde seg selv til den "
"første kunden til produktet deres. De laget de produktene de selv personlig "
"ønsket. Det var et spørsmål om «Jeg trenger denne tingen», ikke «Hvis vi "
"lager denne, vil vi tjene mye penger». Tom bemerker at å være din egen "
"første kunde, gjør deg mer trygg og overbevisende når produktet ditt skal "
"selges."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3417
msgid ""
"Arduino’s business model has evolved over time—and Tom says model is a "
"grandiose term for it. Originally, they just wanted to make a few boards and "
"get them out into the world. They started out with two hundred boards, sold "
"them, and made a little profit. They used that to make another thousand, "
"which generated enough revenue to make five thousand. In the early days, "
"they simply tried to generate enough funding to keep the venture going day "
"to day. When they hit the ten thousand mark, they started to think about "
"Arduino as a company. By then it was clear you can open-source the design "
"but still manufacture the physical product. As long as it’s a quality "
"product and sold at a reasonable price, people will buy it."
msgstr ""
"Arduinos forretningsmodell har utviklet seg over tid – og Tom sier at modell "
"er et stort ord for den. Opprinnelig ville de bare lage noen få kretskort, "
"og få dem ut i verden. De startet med to hundre kort, solgte dem, og fikk et "
"lite overskudd. De brukte det til å lage tusen til, som genererte nok "
"inntekter til å lage fem tusen.  I begynnelsen prøvde de bare å generere nok "
"midler for å holde virksomheten gående fra dag til dag. Da de traff titusen-"
"merket, begynte de å tenke på Arduino som selskap. Da var det klart at du "
"kan ha åpen kildekode for designet, men fortsatt produsere det fysiske "
"produktet.  Så lenge det er et kvalitetsprodukt, og selges til en rimelig "
"pris, vil folk kjøpe det."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3431
msgid ""
"Arduino now has a worldwide community of makers—students, hobbyists, "
"artists, programmers, and professionals. Arduino provides a wiki called "
"Playground (a wiki is where all users can edit and add pages, contributing "
"to and benefiting from collective research). People share code, circuit "
"diagrams, tutorials, DIY instructions, and tips and tricks, and show off "
"their projects. In addition, there’s a multilanguage discussion forum where "
"users can get help using Arduino, discuss topics like robotics, and make "
"suggestions for new Arduino product designs. As of January 2017, 324,928 "
"members had made 2,989,489 posts on 379,044 topics. The worldwide community "
"of makers has contributed an incredible amount of accessible knowledge "
"helpful to novices and experts alike."
msgstr ""
"Arduino har nå et verdensomspennende fellesskap av produsenter, studenter og "
"amatører, kunstnere, programmerere og fagfolk. Arduino tilbyr en wiki kalt "
"Playground (en wiki er der alle brukere kan redigere og legge til sider, "
"bidra til, og ha nytte av kollektive undersøkelser). Folk deler koden, "
"kretsdiagrammer, veiledninger, gjør det selv-instruksjoner (DIY "
"instructions: Do it yourself instructions) og tips og triks, og viser frem "
"sine prosjekter. I tillegg er det et flerspråklig diskusjonsforum der "
"brukere kan få hjelp til å bruke Arduino, diskutere temaer som robotikk, og "
"komme med forslag til nye Arduino produktdesigner. I januar 2017 hadde 324 "
"928 medlemmer laget 2 989 489 innlegg om 379 044 emner. Det "
"verdensomspennende fellesskapet av bidragsytere har gitt en utrolig mengde "
"tilgjengelig kunnskap til hjelp både for nybegynnere og eksperter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3445
msgid ""
"Transitioning Arduino from a project to a company was a big step.  Other "
"businesses who made boards were charging a lot of money for them. Arduino "
"wanted to make theirs available at a low price to people across a wide range "
"of industries. As with any business, pricing was key. They wanted prices "
"that would get lots of customers but were also high enough to sustain the "
"business."
msgstr ""
"Arduinos overgang fra et prosjekt til et selskap var et stort skritt. Andre "
"bedrifter som lagde kretskort tok mye penger for dem.  Arduino ville gjøre "
"sine tilgjengelig til en lav pris for et bredt spekter av bransjer. Som med "
"all forretning var priser nøkkelen. De ønsket priser som vil gi mange "
"kunder, men som også var høy nok til å opprettholde virksomheten."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3453
msgid ""
"For a business, getting to the end of the year and not being in the red is a "
"success. Arduino may have an open-licensing strategy, but they are still a "
"business, and all the things needed to successfully run one still apply. "
"David says, “If you do those other things well, sharing things in an open-"
"source way can only help you.”"
msgstr ""
"For en bedrift er å ikke være i rødt ved slutten av året en suksess. Arduino "
"kan ha en åpen lisensstrategi, men de er fortsatt en bedrift, og alt som er "
"nødvendig for å kunne drive den vellykket, gjelder fortsatt. David sier, "
"«Hvis du gjør disse andre tingene bra, kan å dele ting med åpen kildekode "
"bare hjelpe deg»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3461
msgid ""
"While openly licensing the designs, documentation, and software ensures "
"longevity, it does have risks. There’s a possibility that others will create "
"knockoffs, clones, and copies. The CC BY-SA license means anyone can produce "
"copies of their boards, redesign them, and even sell boards that copy the "
"design. They don’t have to pay a license fee to Arduino or even ask "
"permission. However, if they republish the design of the board, they have to "
"give attribution to Arduino. If they change the design, they must release "
"the new design using the same Creative Commons license to ensure that the "
"new version is equally free and open."
msgstr ""
"Mens åpen lisensiering  av design, dokumentasjon og programvare sikrer lang "
"levetid, innebærer den også risiko. Det er en mulighet for at andre vil lage "
"rimeligere utgaver, kloner og kopier. CC BY-SA lisensen betyr at hvem som "
"helst kan lage kopier av deres kretskort, omforme dem, og til og med selge "
"kretskort som kopierer designet. De trenger ikke å betale en lisensavgift "
"til Arduino, eller be om tillatelse. Men hvis de gir ut kortet igjen med "
"samme design, må de henvise til Arduino. Hvis de endrer utformingen, må de "
"utgi den nye utformingen med samme Creative Commons-lisens for å sikre at "
"den nye versjonen er like fri og åpen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3473
msgid ""
"Tom and David say that a lot of people have built companies off of Arduino, "
"with dozens of Arduino derivatives out there. But in contrast to closed "
"business models that can wring money out of the system over many years "
"because there is no competition, Arduino founders saw competition as keeping "
"them honest, and aimed for an environment of collaboration. A benefit of "
"open over closed is the many new ideas and designs others have contributed "
"back to the Arduino ecosystem, ideas and designs that Arduino and the "
"Arduino community use and incorporate into new products."
msgstr ""
"Tom og David sier at mange mennesker har bygget selskaper ut fra Arduino, "
"med dusinvis av Arduino-derivater der ute. Men i motsetning til lukkede "
"forretningsmodeller som kan vri penger ut av systemet over mange år fordi "
"det ikke er konkurranse, så Arduinos grunnleggere konkurransen som et middel "
"til å holder seg ærlige, og rettet mot et samarbeidsmiljø. En fordel med "
"åpen fremfor lukket, er de mange nye ideer og design andre har bidratt med "
"til Arduinos økosystem, ideer og design som Arduino og Arduinos allmenneie "
"bruker og innlemmer i nye produkter."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3493
msgid "<ulink url=\"http://www.arduino.cc/en/Main/Products\"/>"
msgstr "<ulink url=\"http://www.arduino.cc/en/Main/Products\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3484
msgid ""
"Over time, the range of Arduino products has diversified, changing and "
"adapting to new needs and challenges. In addition to simple entry level "
"boards, new products have been added ranging from enhanced boards that "
"provide advanced functionality and faster performance, to boards for "
"creating Internet of Things applications, wearables, and 3-D printing. The "
"full range of official Arduino products includes boards, modules (a smaller "
"form-factor of classic boards), shields (elements that can be plugged onto a "
"board to give it extra features), and kits.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""
"Over tid har Arduino-produkter spredt seg, endret og tilpasset seg nye behov "
"og utfordringer. I tillegg til enkle kretskort på inngangsnivå, er nye "
"produkter lagt til – fra forbedrede kort med avansert funksjonalitet og "
"raskere ytelse, til kort for å lage programmer til Internett av ting, "
"iklebare ting og 3D-printing (3D-utskrift).  Hele spekteret av offisielle "
"Arduino-produkter inkluderer kort, moduler (en mindre formfaktor av "
"klassiske kort), skjold (shield) (elementer som kan kobles til et kort for å "
"gi den ekstra funksjoner) og byggesett.<placeholder type=\"footnote\" id="
"\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3496
msgid ""
"Arduino’s focus is on high-quality boards, well-designed support materials, "
"and the building of community; this focus is one of the keys to their "
"success. And being open lets you build a real community. David says "
"Arduino’s community is a big strength and something that really does matter—"
"in his words, “It’s good business.” When they started, the Arduino team had "
"almost entirely no idea how to build a community. They started by conducting "
"numerous workshops, working directly with people using the platform to make "
"sure the hardware and software worked the way it was meant to work and "
"solved people’s problems. The community grew organically from there."
msgstr ""
"Arduinos fokus er på høykvalitetskort, godt designet støttemateriell og "
"bygging av dets fellesskap; Dette fokuset er én av nøklene til suksessen. "
"Det å være åpen lar deg bygge et ekte fellesskap. David sier Arduinos "
"samfunn er en stor styrke, og noe som virkelig gjør noe, som han sier; «det "
"er god forretningsførsel». Da de begynte, hadde Arduino-laget nesten ingen "
"anelse om hvordan man bygger fellesskap. De startet ved å gjennomføre mange "
"arbeidsrettede møter, direkte med personer som bruker plattformen for å "
"kontrollere at maskinvaren og programvaren var formålstjenlig i det å løse "
"folks problemer. Samfunnet vokste organisk derfra."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3509
msgid ""
"A key decision for Arduino was trademarking the name. The founders needed a "
"way to guarantee to people that they were buying a quality product from a "
"company committed to open-source values and knowledge sharing. Trademarking "
"the Arduino name and logo expresses that guarantee and helps customers "
"easily identify their products, and the products sanctioned by them. If "
"others want to sell boards using the Arduino name and logo, they have to pay "
"a small fee to Arduino. This allows Arduino to scale up manufacturing and "
"distribution while at the same time ensuring the Arduino brand isn’t hurt by "
"low-quality copies."
msgstr ""
"En viktig beslutning for Arduino var å varemerke navnet. Grunnleggerne "
"trengte en måte å garantere folk kjøp av et kvalitetsprodukt fra et selskap "
"forpliktet til friprog-filosofi og kunnskapsdeling. Varemerking av Arduinos "
"navn og logo gir den garantien, og hjelper kundene å enkelt identifisere "
"produktene deres, samt produkter godkjent av dem. Hvis andre ønsker å selge "
"kretskort med Arduino-navn og -logo, må de betale en liten avgift til "
"Arduino. Dette gjør Arduino i stand til å skalere opp produksjon og "
"distribusjon, samtidig som det forsikres at Arduino-merket ikke skades av "
"lavkvalitetskopier."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3521
msgid ""
"Current official manufacturers are Smart Projects in Italy, SparkFun in the "
"United States, and Dog Hunter in Taiwan/China.  These are the only "
"manufacturers that are allowed to use the Arduino logo on their boards. "
"Trademarking their brand provided the founders with a way to protect "
"Arduino, build it out further, and fund software and tutorial development. "
"The trademark-licensing fee for the brand became Arduino’s revenue-"
"generating model."
msgstr ""
"Gjeldende offisielle produsenter er Smart-prosjekter i Italia, SparkFun i "
"USA, og Dog Hunter i Taiwan/Kina. Dette er de eneste produsentene som "
"tillates å bruke Arduino-logoen på brettene sine.  Varemerkingen av "
"merkevaren deres har gitt grunnleggerne en måte å beskytte Arduino på, bygge "
"ut videre, finansiere utvikling av programvare og opplæring. Gebyret for "
"varemerke-lisensiering ble Arduinos inntektsgenererende modell."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3531
msgid ""
"How far to open things up wasn’t always something the founders perfectly "
"agreed on. David, who was always one to advocate for opening things up more, "
"had some fears about protecting the Arduino name, thinking people would be "
"mad if they policed their brand. There was some early backlash with a "
"project called Freeduino, but overall, trademarking and branding has been a "
"critical tool for Arduino."
msgstr ""
"Hvilken utstrekning ting skulle åpnes i var ikke alltid noe grunnleggerne "
"var helt enige om. David, som alltid gikk i bresjen for å åpne ting opp mer, "
"hadde noen betenkeligheter om beskyttelse av Arduino-navnet, idet folk "
"kanskje ville bli sure om de beskyttet deres merkevare. Det var et tidlig "
"tilbakeslag med et prosjekt kalt Freeduino, men samlet, varemerking og "
"merkevarebygging har vært et kritisk verktøy for Arduino."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3552
msgid "<ulink url=\"http://blog.arduino.cc/2013/07/10/send-in-the-clones/\"/>"
msgstr "<ulink url=\"http://blog.arduino.cc/2013/07/10/send-in-the-clones/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3540
msgid ""
"David encourages people and businesses to start by sharing everything as a "
"default strategy, and then think about whether there is anything that really "
"needs to be protected and why. There are lots of good reasons to not open up "
"certain elements. This strategy of sharing everything is certainly the "
"complete opposite of how today’s world operates, where nothing is shared. "
"Tom suggests a business formalize which elements are based on open sharing "
"and which are closed. An Arduino blog post from 2013 entitled “Send In the "
"Clones,” by one of the founders Massimo Banzi, does a great job of "
"explaining the full complexities of how trademarking their brand has played "
"out, distinguishing between official boards and those that are clones, "
"derivatives, compatibles, and counterfeits.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""
"David oppfordrer folk og bedrifter til å starte ved å dele alt som forvalgt "
"strategi, og deretter tenke på om det er noe som virkelig trenger "
"beskyttelse, og hvorfor. Det er mange gode grunner til å ikke åpne bestemte "
"elementer. Denne strategien for å dele alt, er den diametrale motsats til "
"hvordan dagens verden opererer, der ingenting er delt. Tom foreslår at en "
"bedrift formaliserer hvilke elementer som er basert på åpen deling, og "
"hvilke som er lukket. Et Arduino-blogginnlegg fra 2013, med tittelen «Send "
"In the Clones», fra en av grunnleggerne Massimo Banzi, er til stor hjelp for "
"å forklare hele kompleksiteten i hvordan varemerkingen deres ble rullet ut, "
"ved å skille mellom offisielle kort og de som er kloner, derivater, "
"kompatible og forfalskninger.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3555
msgid ""
"For David, an exciting aspect of Arduino is the way lots of people can use "
"it to adapt technology in many different ways. Technology is always making "
"more things possible but doesn’t always focus on making it easy to use and "
"adapt. This is where Arduino steps in.  Arduino’s goal is “making things "
"that help other people make things.”"
msgstr ""
"For David er en spennende del av Arduino hvordan bruken muliggjør tilpasning "
"av teknologi på mange forskjellige måter for så mange. Teknologi åpner "
"alltid flere muligheter, men ikke alltid med fokus på dens enkelhet i bruk "
"og tilpasningsdyktighet. Det er der Arduino trår til. Arduinos mål er «å "
"lage ting som hjelper andre mennesker å lage ting»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3563
msgid ""
"Arduino has been hugely successful in making technology and electronics "
"reach a larger audience. For Tom, Arduino has been about “the "
"democratization of technology.” Tom sees Arduino’s open-source strategy as "
"helping the world get over the idea that technology has to be protected. Tom "
"says, “Technology is a literacy everyone should learn.”"
msgstr ""
"Arduino har vært svært vellykket med å få teknologi og elektronikk ut til et "
"større publikum. For Tom har Arduino handlet om «demokratisering av "
"teknologi». Tom ser Arduinos åpne kildekodestrategi som å hjelpe verden å "
"komme over tanken at teknologien må ha beskyttelse. Tom sier, «Teknologi er "
"en ferdighet som alle burde lære»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3571
msgid ""
"Ultimately, for Arduino, going open has been good business—good for product "
"development, good for distribution, good for pricing, and good for "
"manufacturing."
msgstr ""
"Til slutt, for Arduino, å bli åpne har vært bra for forretningen – bra for "
"produktutvikling, bra for distribusjon, bra for prising og bra for "
"produksjon."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3577
msgid "Ártica"
msgstr "Ártica"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3580
msgid ""
"Ártica provides online courses and consulting services focused on how to use "
"digital technology to share knowledge and enable collaboration in arts and "
"culture. Founded in 2011 in Uruguay."
msgstr ""
"Ártica gir kurs på nettet og konsulenttjenester fokusert på hvordan du "
"bruker digital teknologi til å dele kunnskap og muliggjøre samarbeid i kunst "
"og kultur. Grunnlagt i 2011 i Uruguay."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3585
msgid "<ulink url=\"http://www.articaonline.com\"/>"
msgstr "<ulink url=\"http://www.articaonline.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3587
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for tilpassede "
"tjenester"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3590
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 9, 2016"
msgstr "<emphasis role=\"strong\">Dato for intervju</emphasis>: 9. mars 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3592
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Mariana Fossatti and "
"Jorge Gemetto, cofounders"
msgstr ""
"<emphasis role=\"strong\">Intervjuobjekter</emphasis>: Mariana Fossatti og "
"Jorge Gemetto, medgrunnleggere"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3596
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3783
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3975
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4394
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5760
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7204
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7985
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8507
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8728
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9194
msgid "Profile written by Sarah Hinchliff Pearson"
msgstr "Profilen skrevet av Sarah Hinchliff Pearson"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3600
msgid ""
"The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the "
"ultimate example of DIY. Not only are they successful entrepreneurs, the "
"niche in which their small business operates is essentially one they built "
"themselves."
msgstr ""
"Historien om Mariana Fossattis og Jorge Gemettos virksomhet, Ártica, er det "
"beste eksempelet på Gjør det selv (DIY: Do it yourself). Ikke bare er de "
"vellykkede gründere, nisjen deres lille virksomhet opererer i, er i hovedsak "
"en de har bygget selv."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3606
msgid "Their dream jobs didn’t exist, so they created them."
msgstr "Drømmejobbene deres eksisterer ikke, så de laget dem."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3609
msgid ""
"In 2011, Mariana was a sociologist working for an international organization "
"to develop research and online education about rural-development issues. "
"Jorge was a psychologist, also working in online education. Both were "
"bloggers and heavy users of social media, and both had a passion for arts "
"and culture. They decided to take their skills in digital technology and "
"online learning and apply them to a topic area they loved. They launched "
"Ártica, an online business that provides education and consulting for people "
"and institutions creating artistic and cultural projects on the Internet."
msgstr ""
"I 2011 var Mariana en sosiolog som arbeider for en internasjonal "
"organisasjon med å utvikle forskning og utdanning på nettet om "
"jordbruksutviklingsoppgaver. Jorge var psykolog, som også arbeidet med "
"utdanning på nett. Begge var bloggere og tunge brukere av sosiale medier, og "
"begge hadde en lidenskap for kunst og kultur. Med sine ferdigheter i digital "
"teknologi og nettlæring besluttet de å bruke dem på et område de likte. De "
"lanserte Ártica, en bedrift som gir opplæring og rådgivning for folk og "
"institusjoner som utvikler kunstneriske og kulturelle prosjekter på "
"Internettet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3621
msgid ""
"Ártica feels like a uniquely twenty-first century business. The small "
"company has a global online presence with no physical offices. Jorge and "
"Mariana live in Uruguay, and the other two full-time employees, who Jorge "
"and Mariana have never actually met in person, live in Spain. They started "
"by creating a MOOC (massive open online course) about remix culture and "
"collaboration in the arts, which gave them a direct way to reach an "
"international audience, attracting students from across Latin America and "
"Spain.  In other words, it is the classic Internet story of being able to "
"directly tap into an audience without relying upon gatekeepers or "
"intermediaries."
msgstr ""
"Ártica føles som en unik virksomhet i det tjueførste århundre. Det lille "
"selskapet har en global tilstedeværelse på Internett uten fysiske kontorer. "
"Jorge og Mariana bor i Uruguay, og de andre to fulltids ansatte, som Jorge "
"og Mariana aldri har møtt personlig, bor i Spania. De startet ved å opprette "
"en MOOC (et fleksibelt nettkurs, gratis og tilgjengelig for alle) om remiks-"
"kultur og samarbeid innen kunsten, som ga dem en direkte vei til et "
"internasjonalt publikum, og tiltrekke seg studenter fra hele Latin-Amerika "
"og Spania. Med andre ord, det er den klassiske Internett-historien om å "
"kunne koble seg direkte til publikum uten å være avhengig av portvoktere "
"eller mellommenn."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3634
msgid ""
"Ártica offers personalized education and consulting services, and helps "
"clients implement projects. All of these services are customized. They call "
"it an “artisan” process because of the time and effort it takes to adapt "
"their work for the particular needs of students and clients. “Each student "
"or client is paying for a specific solution to his or her problems and "
"questions,” Mariana said. Rather than sell access to their content, they "
"provide it for free and charge for the personalized services."
msgstr ""
"Ártica tilbyr tilpasset utdanning og konsulenttjenester, og hjelper kundene "
"å gjennomføre prosjekter. Alle disse tjenestene er tilpasset. De kaller det "
"en «artisan» prosess på grunn av den tid og krefter det tar for å tilpasse "
"sitt arbeid til de spesielle behovene til studenter og kunder. «Hver student "
"eller kunde betaler for en bestemt løsning på hans eller hennes problemer og "
"spørsmål», sier Mariana. I stedet for å selge tilgang til innholdet sitt, "
"gir de det gratis, og tar betalt for tilpasningstjenestene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3644
msgid ""
"When they started, they offered a smaller number of courses designed to "
"attract large audiences. “Over the years, we realized that online "
"communities are more specific than we thought,” Mariana said. Ártica now "
"provides more options for classes and has lower enrollment in each course. "
"This means they can provide more attention to individual students and offer "
"classes on more specialized topics."
msgstr ""
"Da de begynte, tilbød de et mindre antall kurs laget for å tiltrekke seg "
"store målgrupper. «Gjennom årene har vi innsett at nettsamfunn er mer "
"spesifikke enn vi trodde», sa Mariana. Ártica leverer nå flere alternative "
"klasser, og har færre påmeldinger på hvert kurs. Dette betyr at de kan gi "
"hver enkelte elev mer oppmerksomhet, og tilby kurs på mer spesialiserte "
"emner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3653
msgid ""
"Online courses are their biggest revenue stream, but they also do more than "
"a dozen consulting projects each year, ranging from digitization to event "
"planning to marketing campaigns. Some are significant in scope, particularly "
"when they work with cultural institutions, and some are smaller projects "
"commissioned by individual artists."
msgstr ""
"Kurs på nettet er deres største inntektskilde, men de har også mer enn et "
"dusin konsulentprosjekter hvert år, alt fra digitalisering til "
"arrangementsplanlegging og markedsføringskampanjer.  Noen av dem har en viss "
"størrelse, spesielt når de jobber med kulturinstitusjoner, mens andre er "
"mindre prosjekter på oppdrag fra enkeltartister."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3661
msgid ""
"Ártica also seeks out public and private funding for specific projects. "
"Sometimes, even if they are unsuccessful in subsidizing a project like a new "
"course or e-book, they will go ahead because they believe in it. They take "
"the stance that every new project leads them to something new, every new "
"resource they create opens new doors."
msgstr ""
"Ártica søker også etter offentlig og privat finansiering til bestemte "
"prosjekter. Noen ganger, selv om de ikke lykkes i å få støtte til et "
"prosjekt som et nytt kurs eller en nettbok, går de videre fordi de tror på "
"det.  De har det standpunktet at hvert nytt prosjekt fører dem til noe nytt, "
"hver ny ressurs de lager åpner nye dører."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3669
msgid ""
"Ártica relies heavily on their free Creative Commons–licensed content to "
"attract new students and clients. Everything they create—online education, "
"blog posts, videos—is published under an Attribution-ShareAlike license (CC "
"BY-SA). “We use a ShareAlike license because we want to give the greatest "
"freedom to our students and readers, and we also want that freedom to be "
"viral,” Jorge said. For them, giving others the right to reuse and remix "
"their content is a fundamental value. “How can you offer an online "
"educational service without giving permission to download, make and keep "
"copies, or print the educational resources?” Jorge said.  “If we want to do "
"the best for our students—those who trust in us to the point that they are "
"willing to pay online without face-to-face contact—we have to offer them a "
"fair and ethical agreement.”"
msgstr ""
"Ártica lener seg tungt på at deres gratis Creative Commons-lisensierte "
"innhold vil trekke til seg nye studenter og kunder. Alt de lager, nettbasert "
"utdanning, blogg-innlegg, videoer, utgis med en Attribution-ShareAlike-"
"lisens (CC BY-SA). «Vi bruker en ShareAlike-lisens fordi vi vil gi størst "
"mulig frihet til våre studenter og lesere, og vi ønsker også at friheten "
"skal være viral», sa Jorge. For dem er å gi andre rett til å gjenbruke og "
"remikse innholdet en grunnleggende verdi. «Hvordan kan du tilby en "
"nettbasert pedagogisk tjeneste uten å gi tillatelse til å laste ned, lage og "
"beholde kopier, eller skrive ut de pedagogiske ressursene?» Jorge sier: "
"«Hvis vi ønsker å gjøre det best for våre studenter  - de som stoler på oss "
"til det punktet at de er villige til å betale på nettet uten ansikt til "
"ansikt kontakt - har vi bare å tilby dem en hederlig og etisk avtale»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3685
msgid ""
"They also believe sharing their ideas and expertise openly helps them build "
"their reputation and visibility. People often share and cite their work. A "
"few years ago, a publisher even picked up one of their e-books and "
"distributed printed copies. Ártica views reuse of their work as a way to "
"open up new opportunities for their business."
msgstr ""
"De tror også at å dele sine ideer og sin ekspertise åpent hjelper dem å "
"bygge omdømmet og synligheten sin. Folk  deler og siterer deres arbeid ofte. "
"For noen år siden plukket en utgiver selv opp en av nettbøkene deres, og "
"distribuerte trykte kopier. Ártica ser gjenbruk av arbeidet deres som en vei "
"til å åpne opp nye muligheter for sin virksomhet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3693
msgid ""
"This belief that openness creates new opportunities reflects another belief—"
"in serendipity. When describing their process for creating content, they "
"spoke of all of the spontaneous and organic ways they find inspiration. "
"“Sometimes, the collaborative process starts with a conversation between us, "
"or with friends from other projects,” Jorge said. “That can be the first "
"step for a new blog post or another simple piece of content, which can "
"evolve to a more complex product in the future, like a course or a book.”"
msgstr ""
"Troen på at åpenhet skaper nye muligheter, reflekterer en annen tro, til alt "
"hell. Når de beskriver sin prosess når de lager innhold, snakker de om alle "
"de spontane og organiske måtene de finne inspirasjon på. «Noen ganger "
"starter samarbeidsprosessen med en samtale mellom oss, eller med venner fra "
"andre prosjekter», sa Jorge. «Det kan være det første skrittet til et nytt "
"blogginnlegg, eller et nytt enkelt innhold, som  i fremtiden kan utvikle seg "
"til et mer sammensatt produkt, som et kurs eller en bok»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3703
msgid ""
"Rather than planning their work in advance, they let their creative process "
"be dynamic. “This doesn’t mean that we don’t need to work hard in order to "
"get good professional results, but the design process is more flexible,” "
"Jorge said. They share early and often, and they adjust based on what they "
"learn, always exploring and testing new ideas and ways of operating. In many "
"ways, for them, the process is just as important as the final product."
msgstr ""
"Heller enn å planlegging arbeidet sitt på forhånd, lar de deres kreative "
"prosess være dynamisk. «Dette betyr ikke at vi ikke trenger å jobbe hardt "
"for å få gode profesjonelle resultater, men utformingsprosessen er mer "
"fleksibel», sa Jorge. De deler tidlig og ofte, og de justerer ut fra det de "
"lærer, og utforsker og tester alltid nye ideer og måter å arbeide på. På "
"mange måter er prosessen for dem like viktig som sluttproduktet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3712
msgid ""
"People and relationships are also just as important, sometimes more. “In the "
"educational and cultural business, it is more important to pay attention to "
"people and process, rather than content or specific formats or materials,” "
"Mariana said.  “Materials and content are fluid. The important thing is the "
"relationships.”"
msgstr ""
"Folk og relasjoner er også like viktige, noen ganger mer. «I den pedagogiske "
"og kulturelle virksomheten, er det viktigere å ta hensyn til folk og "
"prosesser, snarere enn innhold eller spesielle formater eller materialer», "
"sa Mariana. «Materialer og innhold er flytende. Den viktige tingen er "
"relasjonene»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3720
msgid ""
"Ártica believes in the power of the network. They seek to make connections "
"with people and institutions across the globe so they can learn from them "
"and share their knowledge."
msgstr ""
"Ártica tror på kraften i nettverket. De søker å lage forbindelser mellom "
"mennesker og institusjoner over hele verden, så de kan lære av dem og dele "
"sine kunnskaper."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3725
msgid ""
"At the core of everything Ártica does is a set of values. “Good content is "
"not enough,” Jorge said. “We also think that it is very important to take a "
"stand for some things in the cultural sector.” Mariana and Jorge are "
"activists. They defend free culture (the movement promoting the freedom to "
"modify and distribute creative work) and work to demonstrate the "
"intersection between free culture and other social-justice movements. Their "
"efforts to involve people in their work and enable artists and cultural "
"institutions to better use technology are all tied closely to their belief "
"system. Ultimately, what drives their work is a mission to democratize art "
"and culture."
msgstr ""
"Kjernen i alt Ártica gjør er et sett verdier. «Godt innhold ikke er nok», sa "
"Jorge. «Vi tror også at det er svært viktig å ta et standpunkt for noe i "
"kultursektoren». Mariana og Jorge er aktivister. De forsvarer fri kultur "
"(bevegelsen som fremmer frihet til å endre og distribuere kreativt arbeid), "
"og arbeider for å vise skjæringspunktet mellom fri kultur og andre  "
"bevegelser for sosial rettferdighet. Innsatsen deres for å involvere "
"mennesker i sitt arbeid, og aktivere kunstnere og kulturinstitusjoner til å "
"bedre bruken av teknologi, er tett knyttet til deres holdninger. Til syvende "
"og sist, det som driver deres arbeid er målet om å demokratisere kunst og "
"kultur."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3738
msgid ""
"Of course, Ártica also has to make enough money to cover its expenses. Human "
"resources are, by far, their biggest expense. They tap a network of "
"collaborators on a case-by-case basis and hire contractors for specific "
"projects. Whenever possible, they draw from artistic and cultural resources "
"in the commons, and they rely on free software. Their operation is small, "
"efficient, and sustainable, and because of that, it is a success."
msgstr ""
"Ártica må selvfølgelig også tjene nok penger til å dekke sine utgifter.  I "
"stor grad er menneskelige ressurser den største utgiftsposten. De trekker "
"veksler på samarbeidspartnere fra sak til sak, og leier inn oppdragstakere "
"til bestemte prosjekter. Når det er mulig, trekker de veksler på "
"kunstneriske og kulturelle ressurser i fellesskapet, og de stoler på fri "
"programvare. Virksomheten deres er liten, effektiv og bærekraftig, og derfor "
"er den en suksess."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3747
msgid ""
"“There are lots of people offering online courses,” Jorge said.  “But it is "
"easy to differentiate us. We have an approach that is very specific and "
"personal.” Ártica’s model is rooted in the personal at every level. For "
"Mariana and Jorge, success means doing what brings them personal meaning and "
"purpose, and doing it sustainably and collaboratively."
msgstr ""
"«Det er mange mennesker som tilbyr kurs på nettet», sa Jorge. «Men det er "
"lett å skille oss ut. Vi har en tilnærming som er veldig spesifikk og "
"personlig». Árticas modell er forankret i det personlige på alle nivåer. For "
"Mariana og Jorge betyr suksess å gjøre det som gir dem personlig mening og "
"hensikt, og gjøre det bærekraftig og i samarbeid."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3755
msgid ""
"In their work with younger artists, Mariana and Jorge try to emphasize that "
"this model of success is just as valuable as the picture of success we get "
"from the media. “If they seek only the traditional type of success, they "
"will get frustrated,” Mariana said. “We try to show them another image of "
"what it looks like.”"
msgstr ""
"I sitt arbeid med yngre artister prøver Mariana og Jorge å understreke at "
"denne modellen for suksess er like verdifull som det bildet av suksess vi "
"får i media. «Hvis de bare søker etter den tradisjonell typen suksess, vil "
"de bli frustrert», sa Mariana. «Vi prøver å vise dem et annet bilde av "
"hvordan det ser ut»."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3763
msgid "Blender Institute"
msgstr "Blender-instituttet"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3766
msgid ""
"The Blender Institute is an animation studio that creates 3-D films using "
"Blender software. Founded in 2006 in the Netherlands."
msgstr ""
"Blender Institute er et animasjonsstudio som lager 3D-filmer med Blender "
"programvare. Grunnlagt i 2006 i Nederland."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3771
msgid "<ulink url=\"http://www.blender.org\"/>"
msgstr "<ulink url=\"http://www.blender.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3773
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
"(subscription-based), charging for physical copies, selling merchandise"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Folkefinansiering "
"(abonnementsbasert), betaling for fysiske kopier, varesalg"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3777
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 8, 2016"
msgstr "<emphasis role=\"strong\">Dato for intervju</emphasis>: 8. mars 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3779
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Francesco Siddi, "
"production coordinator"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Francesco Siddi, "
"produksjonsleder"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3787
msgid ""
"For Ton Roosendaal, the creator of Blender software and its related "
"entities, sharing is practical. Making their 3-D content creation software "
"available under a free software license has been integral to its development "
"and popularity. Using that software to make movies that were licensed with "
"Creative Commons pushed that development even further. Sharing enables "
"people to participate and to interact with and build upon the technology and "
"content they create in a way that benefits Blender and its community in "
"concrete ways."
msgstr ""
"For Ton Roosendaal, som skapte Blender programvare og de tilknyttede "
"enhetene, er deling praktisk. Å gjøre deres programvare for å lage 3D-"
"innhold tilgjengelig under fri programvarelisens har vært integrerende for "
"programmets utvikling og popularitet. Å bruke programvaren til å lage filmer "
"lisensiert med Creative Commons, skjøv denne utviklingen ytterligere "
"fremover. Deling gjør det mulig for folk å delta og samhandle med, og å "
"bygge videre på, den teknologien og innholdet de lager på en måte som er til "
"fordel for Blender og Blenders fellesskap helt konkret."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3798
msgid ""
"Each open-movie project Blender runs produces a host of openly licensed "
"outputs, not just the final film itself but all of the source material as "
"well. The creative process also enhances the development of the Blender "
"software because the technical team responds directly to the needs of the "
"film production team, creating tools and features that make their lives "
"easier. And, of course, each project involves a long, rewarding process for "
"the creative and technical community working together."
msgstr ""
"Hvert åpen-filmprosjekt Blender kjører, produserer en rekke åpne lisensierte "
"resultater, ikke bare den endelige filmen selv, men alt kildematerialet "
"også. Den kreative prosessen forbedrer også utviklingen av Blenders "
"programvare fordi det tekniske teamet responderer direkte på  behovene "
"filmens produksjonsteam har, ved å lage verktøy og funksjoner som gjør livet "
"deres enklere. Og, selvfølgelig, hvert prosjekt innebærer en lang, givende "
"prosess der det kreative og tekniske fellesskapet arbeider sammen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3808
msgid ""
"Rather than just talking about the theoretical benefits of sharing and free "
"culture, Ton is very much about doing and making free culture. Blender’s "
"production coordinator Francesco Siddi told us, “Ton believes if you don’t "
"make content using your tools, then you’re not doing anything.”"
msgstr ""
"Heller enn bare å snakke om de teoretisk fordelene av deling og fri kultur, "
"er Ton veldig for å få til og lage fri kultur. Blenders produksjonsleder "
"Francesco Siddi fortalte oss at, «Ton tror hvis du ikke ikke bruker "
"verktøyet ditt til å lage innhold, så gjør du ikke noenting»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3815
msgid ""
"Blender’s history begins in the late 1990s, when Ton created the Blender "
"software. Originally, the software was an in-house resource for his "
"animation studio based in the Netherlands.  Investors became interested in "
"the software, so he began marketing the software to the public, offering a "
"free version in addition to a paid version. Sales were disappointing, and "
"his investors gave up on the endeavor in the early 2000s. He made a deal "
"with investors—if he could raise enough money, he could then make the "
"Blender software available under the GNU General Public License."
msgstr ""
"Blenders historie begynner i 1990, da Ton opprettet programvaren Blender. "
"Opprinnelig var programvaren en intern ressurs for hans animasjonsstudio i "
"Nederland. Investorer ble interessert i programvaren, så han begynte å "
"markedsføre programvaren til publikum, og tilbød en gratis versjon i tillegg "
"til en betalt versjon. Salget var skuffende, og hans investorer ga opp "
"forsøket tidlig på 2000-tallet. Han gjorde en avtale med investorer – hvis "
"han kunne skaffe nok penger, kunne han så gjøre Blender-programvaren "
"tilgjengelig under GNU General Public License."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3826
msgid ""
"This was long before Kickstarter and other online crowdfunding sites "
"existed, but Ton ran his own version of a crowdfunding campaign and quickly "
"raised the money he needed. The Blender software became freely available for "
"anyone to use. Simply applying the General Public License to the software, "
"however, was not enough to create a thriving community around it. Francesco "
"told us, “Software of this complexity relies on people and their vision of "
"how people work together. Ton is a fantastic community builder and manager, "
"and he put a lot of work into fostering a community of developers so that "
"the project could live.”"
msgstr ""
"Dette var lenge før Kickstarter og andre nettsteder for folkefinansiering "
"eksisterte, men Ton kjørte sin egen versjon av en folkefinansiering, og "
"skaffet raskt pengene han trengte. Blender-programvaren ble fritt "
"tilgjengelig å bruke for alle. Men bare å bruke General Public License til "
"programvaren, var ikke nok til å få til et blomstrende fellesskap rundt den. "
"Francesco fortalte oss: «Programvare med denne kompleksiteten er avhengig av "
"mennesker og deres visjon om hvordan folk arbeider sammen. Ton er en "
"fantastisk felleskapsbygger og leder, og han har lagt ned mye arbeid i å "
"fremme et fellesskap av utviklere slik at prosjektet kunne leve»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3838
msgid ""
"Like any successful free and open-source software project, Blender developed "
"quickly because the community could make fixes and improvements. “Software "
"should be free and open to hack,” Francesco said. “Otherwise, everyone is "
"doing the same thing in the dark for ten years.” Ton set up the Blender "
"Foundation to oversee and steward the software development and maintenance."
msgstr ""
"Som ethvert vellykket programvareprosjekt med gratis og åpen kildekode "
"utviklet Blender seg raskt fordi fellesskapet kunne gjøre feilrettinger og "
"forbedringer. «Programvare bør være fritt og åpent for rettelser», sa "
"Francesco. «Ellers gjør alle det samme i mørket i ti år». Ton satt opp "
"Blender Foundation til å overvåke og forvalte programvareutviklingen og "
"vedlikeholdet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3846
msgid ""
"After a few years, Ton began looking for new ways to push development of the "
"software. He came up with the idea of creating CC-licensed films using the "
"Blender software. Ton put a call online for all interested and skilled "
"artists. Francesco said the idea was to get the best artists available, put "
"them in a building together with the best developers, and have them work "
"together.  They would not only produce high-quality openly licensed content, "
"they would improve the Blender software in the process."
msgstr ""
"Etter noen år begynte Ton å lete etter nye måter å fremme utviklingen av "
"programvaren på. Han fikk ideen om å lage CC-lisensierte filmer med Blender-"
"programvare. Ton la ut en forespørsel på nettet til alle interesserte og "
"erfarne kunstnere. Francesco sa ideen var å få de beste artistene som var "
"tilgjengelig, sette dem i en bygning sammen med de beste utviklerne, og få "
"dem til å arbeide sammen. De skulle ikke bare lage åpent lisensiert innhold "
"av høy kvalitet, de skulle forbedre Blenders programvare i prosessen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3856
#, fuzzy
msgid ""
"They turned to crowdfunding to subsidize the costs of the project.  They had "
"about twenty people working full-time for six to ten months, so the costs "
"were significant. Francesco said that when their crowdfunding campaign "
"succeeded, people were astounded. “The idea that making money was possible "
"by producing CC-licensed material was mind-blowing to people,” he said. "
"“They were like, ‘I have to see it to believe it.’”"
msgstr ""
"De vendte seg til folkefinansiering for å subsidiere prosjektkostnadene. De "
"hadde tyve personer som jobbet fulltid i seks til ti måneder, så kostnadene "
"var betydelige. Francesco sa at når folkefinansieringskampanjen deres "
"lyktes, var folk forbløffet. «Ideen om at å tjene penger var mulig ved å "
"produsere CC-lisensiert materiale, var overveldende for folk», sa han. «De "
"var som, ‹jeg må se det for å tro det› »."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3865
msgid ""
"The first film, which was released in 2006, was an experiment. It was so "
"successful that Ton decided to set up the Blender Institute, an entity "
"dedicated to hosting open-movie projects. The Blender Institute’s next "
"project was an even bigger success. The film, Big Buck Bunny, went viral, "
"and its animated characters were picked up by marketers."
msgstr ""
"Den første filmen, som ble utgitt i 2006, var et eksperiment. Det var så "
"vellykket at Ton besluttet å sette opp Blender Institute, en enhet øremerket "
"til å huse åpen-filmprosjekter. Blender Institute sitt neste prosjekt var en "
"enda større suksess. Filmen Big Buck Bunny gikk viralt, og de animerte "
"figurene ble plukket opp av markedsførere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3873
msgid ""
"Francesco said that, over time, the Blender Institute projects have gotten "
"bigger and more prominent. That means the filmmaking process has become more "
"complex, combining technical experts and artists who focus on storytelling. "
"Francesco says the process is almost on an industrial scale because of the "
"number of moving parts. This requires a lot of specialized assistance, but "
"the Blender Institute has no problem finding the talent it needs to help on "
"projects. “Blender hardly does any recruiting for film projects because the "
"talent emerges naturally,” Francesco said.  “So many people want to work "
"with us, and we can’t always hire them because of budget constraints.”"
msgstr ""
"Francesco sa at over tid har Blender Institute-prosjektene blitt større og "
"mer betydningsfulle. Det betyr at prosessen med å lage film har blitt mer "
"kompleks ved å kombinere tekniske eksperter og kunstnere som har fokus på "
"historiefortelling. Francesco sier prosessen er nesten på industriell skala "
"på grunn av antallet bevegelige deler. Dette krever mye spesialisert hjelp, "
"men Blender Institute har ingen problemer med å finne det talentet som "
"trengs for å bistå prosjekter. «Blender gjør knapt noen rekruttering til "
"filmprosjekter fordi talentet dukker helt naturlig opp», sa Francesco. «Så "
"mange mennesker ønsker å samarbeide med oss, at vi ikke alltid kan ansette "
"dem på grunn av budsjettbegrensninger»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3886
msgid ""
"Blender has had a lot of success raising money from its community over the "
"years. In many ways, the pitch has gotten easier to make.  Not only is "
"crowdfunding simply more familiar to the public, but people know and trust "
"Blender to deliver, and Ton has developed a reputation as an effective "
"community leader and visionary for their work. “There is a whole community "
"who sees and understands the benefit of these projects,” Francesco said."
msgstr ""
"Blender har hatt stor suksess med å skaffe penger fra fellesskapet gjennom "
"årene. På mange måter har det blitt lettere å  bane vei. Ikke bare er "
"folkefinansiering blitt bedre kjent i offentligheten, men folk kjenner til, "
"og stoler på at Blender leverer, og Ton har opparbeidet et rykte som en "
"effektiv fellesskapsleder, og visjonær for arbeidet deres. «Det er et helt "
"fellesskap som ser og forstår fordelen med disse prosjektene», sa Francesco."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3895
msgid ""
"While these benefits of each open-movie project make a compelling pitch for "
"crowdfunding campaigns, Francesco told us the Blender Institute has found "
"some limitations in the standard crowdfunding model where you propose a "
"specific project and ask for funding.  “Once a project is over, everyone "
"goes home,” he said. “It is great fun, but then it ends. That is a problem.”"
msgstr ""
"Mens disse fordelene fra hvert åpen-filmprosjekt gir et overbevisende "
"grunnlag for folkefinansieringskampanjer, fortalte Francesco oss at Blender "
"Institute har funnet noen begrensninger i den standard "
"folkefinansieringsmodellen der man legger frem et bestemt prosjekt og ber om "
"finansiering. «Når et prosjekt er over, drar alle hjem», sa han. «Det er mye "
"moro, men så slutter det. Det er et problem»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3903
msgid ""
"To make their work more sustainable, they needed a way to receive ongoing "
"support rather than on a project-by-project basis. Their solution is Blender "
"Cloud, a subscription-style crowdfunding model akin to the online "
"crowdfunding platform, Patreon. For about ten euros each month, subscribers "
"get access to download everything the Blender Institute produces—software, "
"art, training, and more.  All of the assets are available under an "
"Attribution license (CC BY) or placed in the public domain (CC0), but they "
"are initially made available only to subscribers. Blender Cloud enables "
"subscribers to follow Blender’s movie projects as they develop, sharing "
"detailed information and content used in the creative process. Blender Cloud "
"also has extensive training materials and libraries of characters and other "
"assets used in various projects."
msgstr ""
"For å gjøre arbeidet mer bærekraftig trengte de en måte for å motta "
"kontinuerlig støtte, og ikke på prosjekt-for-prosjektbasis. Deres løsning er "
"Blender Sky, en abonnementstype folkefinansieringsmodell som likner den "
"nettbaserte folkfinansieringsplattformen Patreon. For ca. 10 euro hver måned "
"får abonnenter tilgang til å laste ned alt det Blender Institute produserer "
"– programvare, kunst, opplæring, og mer. Alle disse ressursene er "
"tilgjengelige med en Attribution-lisens (CC BY), eller plassert i den "
"offentlige sfæren (CC0), men de er opprinnelig gjort tilgjengelige kun for "
"abonnenter. Blender Cloud lar abonnentene følge Blenders filmprosjekter mens "
"de utvikles, og deler detaljert informasjon og innhold til bruk i den "
"kreative prosessen. Blender Cloud har også omfattende opplæringsmateriell, "
"biblioteker med rollemodeller og andre ressurser til bruk i ulike prosjekter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3918
msgid ""
"The continuous financial support provided by Blender Cloud subsidizes five "
"to six full-time employees at the Blender Institute. Francesco says their "
"goal is to grow their subscriber base. “This is our freedom,” he told us, "
"“and for artists, freedom is everything.”"
msgstr ""
"Kontinuerlig økonomisk støtte fra Blender Cloud finansierer fem til seks "
"heltidsansatte ved Blender Institute. Francesco sier at deres mål er å "
"utvide sin abonnentbase. «Dette er vår frihet», fortalte han oss, «og for "
"kunstnere er  frihet alt»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3925
msgid ""
"Blender Cloud is the primary revenue stream of the Blender Institute. The "
"Blender Foundation is funded primarily by donations, and that money goes "
"toward software development and maintenance. The revenue streams of the "
"Institute and Foundation are deliberately kept separate. Blender also has "
"other revenue streams, such as the Blender Store, where people can purchase "
"DVDs, T-shirts, and other Blender products."
msgstr ""
"Blender Cloud er den primære inntektskilden for Blender Institute.  Blender "
"Fundation er finanisert hovedsakelig av donasjoner, og pengene går til "
"programvareutvikling og -vedlikehold. Inntektsstrømmene til Blender "
"Institute og Foundation er bevisst holdt separat. Blender har også andre "
"inntektsstrømmer, som Blender-butikken, hvor folk kan kjøpe DVD-er, T-"
"skjorter og andre Blender-produkter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3934
msgid ""
"Ton has worked on projects relating to his Blender software for nearly "
"twenty years. Throughout most of that time, he has been committed to making "
"the software and the content produced with the software free and open. "
"Selling a license has never been part of the business model."
msgstr ""
"Ton har jobbet med prosjekter knyttet til Blender-programvare i nesten tjue "
"år. Gjennom det meste av denne tiden, har han vært opptatt av å gjøre "
"programvaren og innholdet som er produsert med programvaren gratis og åpent. "
"Å selge en lisens har aldri vært en del av forretningsmodellen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3941
msgid ""
"Since 2006, he has been making films available along with all of their "
"source material. He says he has hardly ever seen people stepping into "
"Blender’s shoes and trying to make money off of their content. Ton believes "
"this is because the true value of what they do is in the creative and "
"production process. “Even when you share everything, all your original "
"sources, it still takes a lot of talent, skills, time, and budget to "
"reproduce what you did,” Ton said."
msgstr ""
"Siden 2006 har han gjort filmer tilgjengelig sammen med alt tilhørende "
"kildemateriale. Han sier han har knapt sett mennesker som har satt foten i "
"Blenders sko og prøvd å tjene penger på innholdet. Ton mener dette er fordi "
"den sanne verdien av hva de gjør, er i det kreative og i "
"produksjonsprosessen. «Selv om du deler alt, alle din originale kilder, "
"kreves det mye talent, ferdigheter, tid og budsjett å reprodusere hva du "
"gjorde», sa Ton."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3951
msgid "For Ton and Blender, it all comes back to doing."
msgstr "For Ton og Blender, går alt tilbake til hva du gjør."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3955
msgid "Cards Against Humanity"
msgstr "Cards Against Humanity"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3958
msgid ""
"Cards Against Humanity is a private, for-profit company that makes a popular "
"party game by the same name. Founded in 2011 in the U.S."
msgstr ""
"Cards Against Humanity er et privat, for-fortjeneste selskap som lager et "
"populært fest-spill ved samme navn. Grunnlagt i USA i 2011."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3963
msgid "<ulink url=\"http://www.cardsagainsthumanity.com\"/>"
msgstr "<ulink url=\"http://www.cardsagainsthumanity.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3965
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for fysiske "
"kopier"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3968
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 3, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 3. februar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3971
msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Max Temkin, cofounder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Max Temkin, medgrunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3979
msgid ""
"If you ask cofounder Max Temkin, there is nothing particularly interesting "
"about the Cards Against Humanity business model. “We make a product. We sell "
"it for money. Then we spend less money than we make,” Max said."
msgstr ""
"Hvis du spør medgrunnlegger Max Temkin, er det ikke noe spesielt interessant "
"vedrørende forretningsmodellen til Cards Against Humanity. «Vi lager et "
"produkt. Vi selger det og tar betalt. Så bruker vi mindre penger enn vi får "
"inn», sa Max."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3985
msgid ""
"He is right. Cards Against Humanity is a simple party game, modeled after "
"the game Apples to Apples. To play, one player asks a question or fill-in-"
"the-blank statement from a black card, and the other players submit their "
"funniest white card in response.  The catch is that all of the cards are "
"filled with crude, gruesome, and otherwise awful things. For the right kind "
"of people (“horrible people,” according to Cards Against Humanity "
"advertising), this makes for a hilarious and fun game."
msgstr ""
"Han har rett. Cards Against Humanity er et enkelt fest-spill, tuftet på "
"spillet Apples to Apples. For å spille stiller en spiller et spørsmål, eller "
"fyller-inn-feltet- påstanden fra et svart kort, og de andre spillerne sender "
"sine morsomste hvite kort som svar. Haken er at alle kortene er fylt med "
"grove, grusomme og ellers forferdelig ting. For den rette typen folk "
"(«fryktelige», ifølge Cards Against Humanitys reklame), blir dette et artig "
"og morsomt spill."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3995
msgid ""
"The revenue model is simple. Physical copies of the game are sold for a "
"profit. And it works. At the time of this writing, Cards Against Humanity is "
"the number-one best-selling item out of all toys and games on Amazon. There "
"are official expansion packs available, and several official themed packs "
"and international editions as well."
msgstr ""
"Inntektsmodellen er enkel. Fysiske kopier av spillet blir solgt med "
"fortjeneste, og det fungerer. Når dette blir skrevet, er Cards Against "
"Humanity det bestselgende produktet blant alle leker og spill hos Amazon. "
"Offisielle utvidelsespakker er tilgjengelig, og også flere offisielle "
"temapakker samt internasjonale utgaver."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4003
msgid ""
"But Cards Against Humanity is also available for free. Anyone can download a "
"digital version of the game on the Cards Against Humanity website. More than "
"one million people have downloaded the game since the company began tracking "
"the numbers."
msgstr ""
"Men Cards Against Humanity er også tilgjengelig gratis. Alle kan laste ned "
"en digital versjon av spillet fra nettsiden til Cards Against Humanity. Mer "
"enn én million mennesker har lastet ned spillet etter at selskapet begynte å "
"loggføre tallene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4009
msgid ""
"The game is available under an Attribution-NonCommercial-ShareAlike license "
"(CC BY-NC-SA). That means, in addition to copying the game, anyone can "
"create new versions of the game as long as they make it available under the "
"same noncommercial terms. The ability to adapt the game is like an entire "
"new game unto itself."
msgstr ""
"Spillet er tilgjengelig med en Attribution-NonCommercial-ShareAlike-lisens "
"(CC BY-NC-SA). Det betyr, i tillegg til å kopiere spillet, at alle kan lage "
"nye versjoner av spillet så lenge de gjør det tilgjengelig på de samme ikke-"
"kommersielle vilkårene. Muligheten til å tilpasse spillet, er som et helt "
"nytt spill i seg selv."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4017
msgid ""
"All together, these factors—the crass tone of the game and company, the free "
"download, the openness to fans remixing the game—give the game a massive "
"cult following."
msgstr ""
"Til sammen gir disse faktorene – den krasse tonen i spillet og selskapet, "
"gratis nedlasting, åpenhet for fans til å remikse spillet – det som gir "
"spillet solid kultstatus."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4022
msgid ""
"Their success is not the result of a grand plan. Instead, Cards Against "
"Humanity was the last in a long line of games and comedy projects that Max "
"Temkin and his friends put together for their own amusement. As Max tells "
"the story, they made the game so they could play it themselves on New Year’s "
"Eve because they were too nerdy to be invited to other parties. The game was "
"a hit, so they decided to put it up online as a free PDF. People started "
"asking if they could pay to have the game printed for them, and eventually "
"they decided to run a Kickstarter to fund the printing.  They set their "
"Kickstarter goal at $4,000—and raised $15,000. The game was officially "
"released in May 2011."
msgstr ""
"Suksessen deres er ikke et resultat av en storstilt plan. Cards Against "
"Humanity var det siste i en lang rekke spill og komedieprosjekter Max Temkin "
"og vennene hans satte sammen for egen fornøyelse. Som Max forteller "
"historien, laget de spillet så de kunne spille det selv på nyttårsaften "
"fordi de var for nerdete til å bli invitert i andres selskap. Spillet ble en "
"hit, så de bestemte seg for å legge det ut på nettet som en gratis PDF. Folk "
"begynte å spørre om de kunne betale for å få spillet trykket for dem, og til "
"slutt bestemte de seg å kjøre en Kickstarter for å finansiere trykkingen. De "
"satt Kickstarter-målet til $4,000 – og fikk inn $15,000. Spillet ble utgitt "
"offisielt i mai 2011."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4035
msgid ""
"The game caught on quickly, and it has only grown more popular over time. "
"Max says the eight founders never had a meeting where they decided to make "
"it an ongoing business. “It kind of just happened,” he said."
msgstr ""
"Spillet fenget raskt, og populariteten har bare vokst med tiden. Max sier at "
"de åtte grunnleggerne aldri hatt et møte hvor de bestemte seg for å gjøre "
"dette til en kontinuerlig virksomhet. «På en måte hendte det bare», sa han."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4041
msgid ""
"But this tale of a “happy accident” belies marketing genius. Just like the "
"game, the Cards Against Humanity brand is irreverent and memorable. It is "
"hard to forget a company that calls the FAQ on their website “Your dumb "
"questions.”"
msgstr ""
"Men denne fortellingen om en «lykkelig tilfeldighet» står i motsetning til "
"markedsføringbegavelsen. Akkurat som spillet, er Cards Against Humanity sitt "
"kjennemerke er distanse og minneneverdighet.  Det er vanskelig å glemme en "
"virksomhet som kaller sine ofte besvarte spørsmål på hjemmesiden sin «Dine "
"dumme spørsmål»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4047
msgid ""
"Like most quality satire, however, there is more to the joke than vulgarity "
"and shock value. The company’s marketing efforts around Black Friday "
"illustrate this particularly well. For those outside the United States, "
"Black Friday is the term for the day after the Thanksgiving holiday, the "
"biggest shopping day of the year. It is an incredibly important day for "
"Cards Against Humanity, like it is for all U.S. retailers. Max said they "
"struggled with what to do on Black Friday because they didn’t want to "
"support what he called the “orgy of consumerism” the day has become, "
"particularly since it follows a day that is about being grateful for what "
"you have.  In 2013, after deliberating, they decided to have an Everything "
"Costs $5 More sale."
msgstr ""
"Som de fleste kvalitetssatirer består vitsen av mer enn vulgaritet og "
"sjokkeffekter. Selskapets markedsføring rundt Black Friday illustrerer dette "
"spesielt godt. For dem utenfor USA er Black Friday begrepet for dagen etter "
"Thanksgiving-helligdagen, den største handledagen i året. Det er en utrolig "
"viktig dag for Cards Against Humanity, slik den er det for alle forhandlere "
"i USA. Max sa at de strevde med hva de skulle gjøre med Black Friday fordi "
"de ikke ønsker å støtte det han kalte «forbruksorgien»,  som dagen er blitt "
"til, spesielt siden den følger etter en dag som handler om å være takknemlig "
"for hva du har. I 2013 besluttet de, etter rådslaging, å ha et «alt koster 5 "
"dollar mer»-salg."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4061
msgid ""
"“We sweated it out the night before Black Friday, wondering if our fans were "
"going to hate us for it,” he said. “But it made us laugh so we went with it. "
"People totally caught the joke.”"
msgstr ""
"«Vi svettet natten før Black Friday, og lurte på om våre fans ville hate "
"oss», sa han. «Men det fikk oss til å le, så vi gikk ut med det. Og folk "
"oppfattet helt klart spøken»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4066
msgid ""
"This sort of bold transparency delights the media, but more importantly, it "
"engages their fans. “One of the most surprising things you can do in "
"capitalism is just be honest with people,” Max said. “It shocks people that "
"there is transparency about what you are doing.”"
msgstr ""
"Denne typen modig åpenhet gleder media, men enda viktigere, det engasjerer "
"fansen. «En av de mest overraskende tingene du kan gjøre i kapitalismen er "
"bare å være ærlig med folk», sa Max. «Det sjokkerer folk at det er åpenhet "
"om hva du gjør»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4073
msgid ""
"Max also likened it to a grand improv scene. “If we do something a little "
"subversive and unexpected, the public wants to be a part of the joke.” One "
"year they did a Give Cards Against Humanity $5 event, where people literally "
"paid them five dollars for no reason. Their fans wanted to make the joke "
"funnier by making it successful. They made $70,000 in a single day."
msgstr ""
"Max sammenlignet det også med en stor improvisasjonsscene. «Hvis vi gjør noe "
"litt revolusjonært og uventet, vil publikum være med på spøken. Ett år laget "
"de spøken Give Cards Against Humanity $5, hvor folk bokstavelig talt betalte "
"dem fem dollar uten grunn. Fansen ville gjøre spøken morsommere ved å gjøre "
"den vellykket. De fikk inn $70,000 på én dag."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4081
msgid ""
"This remarkable trust they have in their customers is what inspired their "
"decision to apply a Creative Commons license to the game. Trusting your "
"customers to reuse and remix your work requires a leap of faith. Cards "
"Against Humanity obviously isn’t afraid of doing the unexpected, but there "
"are lines even they do not want to cross. Before applying the license, Max "
"said they worried that some fans would adapt the game to include all of the "
"jokes they intentionally never made because they crossed that line. “It "
"happened, and the world didn’t end,” Max said. “If that is the worst cost of "
"using CC, I’d pay that a hundred times over because there are so many "
"benefits.”"
msgstr ""
"Denne bemerkelsesverdige tilliten de har hos sine kunder var det som "
"inspirerte beslutningen deres om å bruke en Creative Commons-lisens til "
"spillet. Å tiltro kundene dine gjenbruk og remiksing av arbeidet ditt krever "
"en porsjon tæl. Cards Against Humanity er åpenbart ikke redd for å gjøre det "
"uventede, men det finnes grenser selv ikke de ønsker å krysse. Før de brukte "
"lisensen, sier Max de var bekymret for at noen fans ville tilpasse spillet "
"til å inkludere alle vitser de forsettlig aldri laget fordi de gikk over den "
"linjen. «Det skjedde, og verden gikk ikke under», sa Max.  «Hvis det er den "
"verste kostnaden ved å bruke CC, ville jeg betalt dét hundre ganger, fordi "
"det er så mange fordeler»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4094
msgid ""
"Any successful product inspires its biggest fans to create remixes of it, "
"but unsanctioned adaptations are more likely to fly under the radar. The "
"Creative Commons license gives fans of Cards Against Humanity the freedom to "
"run with the game and copy, adapt, and promote their creations openly. Today "
"there are thousands of fan expansions of the game."
msgstr ""
"Et vellykket produkt inspirerer sine største fans til å lage remikser av "
"det, men ikke-sanksjonerte tilpasninger flyr sannsynligvis under radaren. "
"Creative Commons-lisensen gir tilhengere av Cards Against Humanity frihet "
"til å bruke spillet, og kopiere, tilpasse, og åpent reklamere for det de har "
"laget. I dag finnes det tusenvis av utvidelser fra tilhengere av spillet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4102
msgid ""
"Max said, “CC was a no-brainer for us because it gets the most people "
"involved. Making the game free and available under a CC license led to the "
"unbelievable situation where we are one of the best-marketed games in the "
"world, and we have never spent a dime on marketing.”"
msgstr ""
"Max sa, «CC var lett for oss fordi det får mest folk involvert. Å gjøre "
"spillet gratis og tilgjengelig med en CC-lisens ledet til den utrolige "
"situasjonen der vi er en av de best markedsført spillene i verden, og vi har "
"aldri brukt en krone på markedsføring»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4109
msgid ""
"Of course, there are limits to what the company allows its customers to do "
"with the game. They chose the Attribution-NonCommercial-ShareAlike license "
"because it restricts people from using the game to make money. It also "
"requires that adaptations of the game be made available under the same "
"licensing terms if they are shared publicly. Cards Against Humanity also "
"polices its brand. “We feel like we’re the only ones who can use our brand "
"and our game and make money off of it,” Max said. About 99.9 percent of the "
"time, they just send an email to those making commercial use of the game, "
"and that is the end of it. There have only been a handful of instances where "
"they had to get a lawyer involved."
msgstr ""
"Selvfølgelig er det grenser for hva firmaet tillater sine kunder å gjøre med "
"spillet. De valgte Attribution-NonCommercial-ShareAlike-lisensen fordi den "
"begrenser folk fra å bruke spillet til å tjene penger. Det krever også at "
"tilpasninger av spillet gjøres tilgjengelig med de samme lisensvilkårene "
"hvis de deles offentlig. Cards Against Humanity passer også på sin "
"merkevare. «Vi føler at vi er de eneste som kan bruke vår merkevare og vårt "
"spill til å tjene penger», sa Max. Rundt 99,9 prosent av tiden sender de "
"bare en e-post til dem som bruker spillet kommersielt, og det er slutten på "
"det. Det har bare vært en håndfull tilfeller der de har måttet hyre advokat."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4123
msgid ""
"Just as there is more than meets the eye to the Cards Against Humanity "
"business model, the same can be said of the game itself.  To be playable, "
"every white card has to work syntactically with enough black cards. The "
"eight creators invest an incredible amount of work into creating new cards "
"for the game. “We have daylong arguments about commas,” Max said. “The "
"slacker tone of the cards gives people the impression that it is easy to "
"write them, but it is actually a lot of work and quibbling.”"
msgstr ""
"Akkurat som det er mer for øyet enn det en ser i forretningsmodellen til "
"Cards Against Humanity, kan det samme sies om selve spillet. For å være "
"spillbare må alle hvite kort kunne fungere sammen med nok svarte kort. Åtte "
"bidragsytere legger ned en utrolig mengde arbeid for å skape nye kort for "
"spillet. «Vi har dagelange diskusjoner om kommaer», sa Max.  «Slappfisk-"
"tonen i kortene gir folk inntrykk av at det er enkelt å skrive dem, men det "
"er faktisk mye arbeid og ordkløveri»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4133
msgid ""
"That means cocreation with their fans really doesn’t work. The company has a "
"submission mechanism on their website, and they get thousands of "
"suggestions, but it is very rare that a submitted card is adopted. Instead, "
"the eight initial creators remain the primary authors of expansion decks and "
"other new products released by the company. Interestingly, the creativity of "
"their customer base is really only an asset to the company once their "
"original work is created and published when people make their own "
"adaptations of the game."
msgstr ""
"Det betyr at å lage dem sammen med fansen deres, virkelig ikke virker. "
"Selskapet har en innleveringsmulighet på hjemmesiden sin, og de får inn "
"tusenvis av forslag, men det er sjelden at et innsendt kort kommer med. De "
"åtte første forfatterne er og blir de viktigste bidragsytere til nye grupper "
"tilleggskort, og andre nye produkter utgitt av selskapet. Interessant nok er "
"kreativiteten i kundebasen deres egentlig bare en ressurs for selskapet, "
"først når det opprinnelige arbeidet er ferdig og publisert, og idet folk "
"lager sine egne tilpasninger til spillet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4144
msgid ""
"For all of their success, the creators of Cards Against Humanity are only "
"partially motivated by money. Max says they have always been interested in "
"the Walt Disney philosophy of financial success. “We don’t make jokes and "
"games to make money—we make money so we can make more jokes and games,” he "
"said."
msgstr ""
"Med all sin suksess, er de som laget Cards Against Humanity  bare delvis "
"motivert av penger. Max sier de alltid har vært interessert i Walt Disney "
"sin filosofi om økonomisk suksess. «Vi lager ikke vitser og spill for å "
"tjene penger – vi tjener penger slik at vi kan lage flere vitser og spill», "
"sa han."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4151
msgid ""
"In fact, the company has given more than $4 million to various charities and "
"causes. “Cards is not our life plan,” Max said. “We all have other interests "
"and hobbies. We are passionate about other things going on in our lives. A "
"lot of the activism we have done comes out of us taking things from the rest "
"of our lives and channeling some of the excitement from the game into it.”"
msgstr ""
"Faktisk har selskapet gitt mer enn $4 millioner til forskjellige "
"veldedighetsorganisasjoner og formål. «Kort er ikke vår plan for livet», sa "
"Max. «Vi har andre interesser og hobbyer. Vi er opptatt av andre ting som "
"skjer i våre liv. Mye av vår aktivisme som vi har utført springer ut fra at "
"vi tar ut ting fra resten av våre liv og kanaliserer noe av spenningen i "
"spillet inn i det»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4159
msgid ""
"Seeing money as fuel rather than the ultimate goal is what has enabled them "
"to embrace Creative Commons licensing without reservation. CC licensing "
"ended up being a savvy marketing move for the company, but nonetheless, "
"giving up exclusive control of your work necessarily means giving up some "
"opportunities to extract more money from customers."
msgstr ""
"Å se penger som drivstoff i stedet for det endelige målet, er det som har "
"gjort dem i stand til, uten reservasjon, å favne om Creative Commons-"
"lisensiering. CC-lisensiering endte opp som et forstandig markedsføringsgrep "
"for selskapet, men likevel, å gi opp den eksklusive kontrollen over sitt "
"arbeid betyr nødvendigvis å gi opp noe av mulighetene til å hente ut mer "
"penger fra kunder."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4167
msgid ""
"“It’s not right for everyone to release everything under CC licensing,” Max "
"said. “If your only goal is to make a lot of money, then CC is not best "
"strategy. This kind of business model, though, speaks to your values, and "
"who you are and why you’re making things.”"
msgstr ""
"«Det er ikke riktig for alle å legge ut alt under CC-lisensiering», sa Max. "
"«Hvis du har som eneste mål å tjene masse penger, er ikke CC beste strategi. "
"Denne forretningsmodellen snakker imidlertid om dine verdier, og hvem du er "
"og hvorfor du lager ting»."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4175
msgid "The Conversation"
msgstr "The Conversation"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4178
msgid ""
"The Conversation is an independent source of news, sourced from the academic "
"and research community and delivered direct to the public over the Internet. "
"Founded in 2011 in Australia."
msgstr ""
"The Conversation er en uavhengig kilde for nyheter, hentet fra akademiske og "
"forskningsamfunnet og levert direkte til publikum over Internett. Grunnlagt "
"2011 i Australia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4183
msgid "<ulink url=\"http://theconversation.com\"/>"
msgstr "<ulink url=\"http://theconversation.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4185
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging content "
"creators (universities pay membership fees to have their faculties serve as "
"writers), grant funding"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling fra "
"innholdsleverandørene (universiteter betaler kontingent for å ha sine "
"fakulteter som forfattere), donasjonsfinansiering"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4192
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Andrew Jaspan, founder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Andrew Jaspan, grunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4200
msgid ""
"Andrew Jaspan spent years as an editor of major newspapers including the "
"Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne, "
"Australia. He experienced firsthand the decline of newspapers, including the "
"collapse of revenues, layoffs, and the constant pressure to reduce costs. "
"After he left the Age in 2005, his concern for the future journalism didn’t "
"go away. Andrew made a commitment to come up with an alternative model."
msgstr ""
"Andrew Jaspan tilbrakte flere år som redaktør for store aviser, inkludert "
"The Observer i London, The Sunday Herald i Glasgow og The age i Melbourne, "
"Australia. Han opplevde selv nedgangen for avisene, inkludert fallet i "
"inntekter, og permitteringer, og konstant press for kostnadsreduksjon. Etter "
"at han forlot The Age i 2005, forsvant ikke hans bekymring for fremtidens "
"journalistikk. Andrew forpliktet seg til å koke opp en alternativ modell."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4210
msgid ""
"Around the time he left his job as editor of the Melbourne Age, Andrew "
"wondered where citizens would get news grounded in fact and evidence rather "
"than opinion or ideology. He believed there was still an appetite for "
"journalism with depth and substance but was concerned about the increasing "
"focus on the sensational and sexy."
msgstr ""
"På det tidspunktet han forlot jobben som redaktør av Melbourne Age, undret "
"Andrew seg på hvor borgerne ville få nyheter forankret i fakta og bevis "
"snarere enn i mening eller ideologi. Han mente det fortsatt var etterspørsel "
"etter journalistikk med dybde og substans, men var bekymret for økende fokus "
"på det spekulative."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4217
msgid ""
"While at the Age, he’d become friends with a vice-chancellor of a university "
"in Melbourne who encouraged him to talk to smart people across campus—an "
"astrophysicist, a Nobel laureate, earth scientists, economists . . . These "
"were the kind of smart people he wished were more involved in informing the "
"world about what is going on and correcting the errors that appear in media. "
"However, they were reluctant to engage with mass media. Often, journalists "
"didn’t understand what they said, or unilaterally chose what aspect of a "
"story to tell, putting out a version that these people felt was wrong or "
"mischaracterized. Newspapers want to attract a mass audience. Scholars want "
"to communicate serious news, findings, and insights. It’s not a perfect "
"match. Universities are massive repositories of knowledge, research, wisdom, "
"and expertise. But a lot of that stays behind a wall of their own making—"
"there are the walled garden and ivory tower metaphors, and in more literal "
"terms, the paywall. Broadly speaking, universities are part of society but "
"disconnected from it. They are an enormous public resource but not that good "
"at presenting their expertise to the wider public."
msgstr ""
"Mens han var i avisen «The Age», var han blitt venner med en prorektor ved "
"et universitet i Melbourne, som oppmuntret ham til å snakke med gløgge folk "
"på hele lærestedet – en astrofysiker, en nobelprisvinner, forskere fra "
"geovitenskap, økonomer ... Disse var dyktige folk som han ønsket var mer "
"involvert i å informere verden om hva som skjer, og rette feilene som dukker "
"opp i media. De var imidlertid uvillige til å engasjere seg i massemedia. "
"Ofte forsto ikke journalister hva de sa, eller valgte ensidig ut hvilket "
"aspekt av en historie som ble fortalt, og publiserte en versjon som "
"fagfolkene følte var feil eller feilkarakterisert. Aviser ønsker å tiltrekke "
"seg et stort publikum. Forskere vil kommunisere seriøse nyheter, funn og "
"innsikter. Det er ikke en perfekt overensstemmelse (match) . Universiteter "
"er massive lagre med kunnskap, forskning, visdom og ekspertise. Men mye av "
"dette ligger bak en vegg de har laget selv – det er metaforene om en "
"inngjerdet hage og elfenbenstårnet, og i mer bokstavelig forstand, "
"betalingsveggen. Bredt sagt er universiteter en del av samfunnet, men "
"frakoblet det. De er en enorm offentlig ressurs, men ikke så bra på å "
"presentere sin kompetanse til det bredere publlikum."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4238
msgid ""
"Andrew believed he could to help connect academics back into the public "
"arena, and maybe help society find solutions to big problems. He thought "
"about pairing professional editors with university and research experts, "
"working one-on-one to refine everything from story structure to headline, "
"captions, and quotes.  The editors could help turn something that is "
"academic into something understandable and readable. And this would be a key "
"difference from traditional journalism—the subject matter expert would get a "
"chance to check the article and give final approval before it is published. "
"Compare this with reporters just picking and choosing the quotes and writing "
"whatever they want."
msgstr ""
"Andrew trodde han kunne hjelpe til med å koble akademikere til den "
"offentlige arenaen igjen, og kanskje bidra til at samfunnet finner løsninger "
"på større problemer. Han tenkte på å koble profesjonelle redaktører med "
"universitet og forskere, til å arbeider én-til-én for å forbedre alt fra "
"fortellingsstruktur til overskrift, bildetekster og sitater. Redaktørene kan "
"bidra til å gjøre noe som er akademisk, til noe forståelig og lesbart. Dette "
"ville vært en hovedforskjell fra tradisjonell journalistikk – emneeksperten "
"ville fått en sjanse å se artikkelen, og gi den en endelig godkjenning før "
"den blir publisert. Sammenlign dette med journalister som bare plukker og "
"velger sitater, og skriver hva enn de måtte ønske."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4251
msgid ""
"The people he spoke to liked this idea, and Andrew embarked on raising money "
"and support with the help of the Commonwealth Scientific and Industrial "
"Research Organisation (CSIRO), the University of Melbourne, Monash "
"University, the University of Technology Sydney, and the University of "
"Western Australia. These founding partners saw the value of an independent "
"information channel that would also showcase the talent and knowledge of the "
"university and research sector. With their help, in 2011, the Conversation, "
"was launched as an independent news site in Australia. Everything published "
"in the Conversation is openly licensed with Creative Commons."
msgstr ""
"De han snakket med likte denne idéen, og Andrew gikk i gang med å skaffe "
"penger og støtte ved hjelp av Commonwealth Scientific og Industrial Research "
"Organisation (CSIRO), University of Melbourne, Monash University, University "
"of Technology Sydney, og University of Western Australia. Disse "
"grunnleggende samarbeidspartnere så verdien av en uavhengig "
"informasjonskanal som også ville bli et utstillingsvindu for talent og "
"kunnskap i universitets- og forskningssektoren. Med deres hjelp, i 2011, ble "
"Conversation lansert som en uavhengig nyhetsside i Australia. Alt som "
"publiseres i Conversation lisensieres åpent med Creative Commons."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4264
msgid ""
"The Conversation is founded on the belief that underpinning a functioning "
"democracy is access to independent, high-quality, informative journalism. "
"The Conversation’s aim is for people to have a better understanding of "
"current affairs and complex issues—and hopefully a better quality of public "
"discourse. The Conversation sees itself as a source of trusted information "
"dedicated to the public good. Their core mission is simple: to provide "
"readers with a reliable source of evidence-based information."
msgstr ""
"Conversation er grunnlagt på den oppfatning at forankringen av et fungerende "
"demokrati er tilgang til uavhengig,  informativ journalistikk med høy "
"kvalitet. Conversations mål er at folk skal få en bedre forståelse av "
"aktuelle saker og komplekse problemstillinger – og forhåpentligvis også "
"høyne kvaliteten på den offentlige diskusjonen. Conversation ser seg selv "
"som en kilde til pålitelig informasjon til vårt felles beste. Kjerneoppgaven "
"deres er enkel: Å gi leserne en pålitelig kilde til bevisbasert informasjon."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4277
msgid "<ulink url=\"http://theconversation.com/us/charter\"/>"
msgstr "<ulink url=\"http://theconversation.com/us/charter\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4275
msgid ""
"Andrew worked hard to reinvent a methodology for creating reliable, credible "
"content. He introduced strict new working practices, a charter, and codes of "
"conduct.<placeholder type=\"footnote\" id=\"0\"/> These include fully "
"disclosing who every author is (with their relevant expertise); who is "
"funding their research; and if there are any potential or real conflicts of "
"interest. Also important is where the content originates, and even though it "
"comes from the university and research community, it still needs to be fully "
"disclosed. The Conversation does not sit behind a paywall. Andrew believes "
"access to information is an issue of equality—everyone should have access, "
"like access to clean water.  The Conversation is committed to an open and "
"free Internet.  Everyone should have free access to their content, and be "
"able to share it or republish it."
msgstr ""
"Andrew jobbet hardt for å gjenoppfinne en metodikk for å lage pålitelig, "
"troverdig innhold. Han innførte strenge nye arbeidsrutiner, prinsipper og "
"koder for utføringen.<placeholder type=\"footnote\" id=\"0\"/> Disse "
"inkluderer full åpenhet om hvem hver forfatter er (med sin relevante "
"kompetanse); hvem som finansierer forskningen deres; og om det er noen "
"potensielle eller faktiske interessekonflikter. Viktig er det også hvor "
"innholdet kommer fra, og selv om det kommer fra universitets- og "
"forskningssamfunnet, må det fremdeles være helt åpent.  Conversation "
"befinner seg ikke bak betalingsmur. Andrew tror at tilgang til informasjon "
"er et likhetsspørsmål – alle skal ha tilgang, som tilgang til rent vann. "
"Conversation er forpliktet til et åpent og gratis Internett. Alle bør ha "
"gratis tilgang til innholdet deres, kunne dele det, eller publiserere det på "
"nytt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4290
msgid ""
"Creative Commons help with these goals; articles are published with the "
"Attribution- NoDerivs license (CC BY-ND). They’re freely available for "
"others to republish elsewhere as long as attribution is given and the "
"content is not edited. Over five years, more than twenty-two thousand sites "
"have republished their content. The Conversation website gets about 2.9 "
"million unique views per month, but through republication they have thirty-"
"five million readers. This couldn’t have been done without the Creative "
"Commons license, and in Andrew’s view, Creative Commons is central to "
"everything the Conversation does."
msgstr ""
"Creative Commons hjelper til med disse målene; artiklene publiseres med "
"Attribution-NoDerivs-lisens (CC BY-ND). Det er fritt tilgjengelig for andre "
"å viderepublisere et annet sted så lenge henvisning er gitt, og innholdet "
"ikke er endret. I fem år har mer enn tjueto tusen nettsteder republisert "
"innholdet. Conversations nettsted får om lag 2,9 millioner unike "
"sidevisninger pr. måned, men gjennom viderepublisering har de trettifem "
"millioner lesere. Dette kunne ikke blitt gjort uten Creative Commons-"
"lisensen, og etter Andrews syn, er Creative Commons sentral i alt "
"Conversation gjør."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4302
msgid ""
"When readers come across the Conversation, they seem to like what they find "
"and recommend it to their friends, peers, and networks.  Readership has "
"grown primarily through word of mouth. While they don’t have sales and "
"marketing, they do promote their work through social media (including "
"Twitter and Facebook), and by being an accredited supplier to Google News."
msgstr ""
"Når leserne kommer over Conversation, virker det som om de liker det de "
"finner, og anbefaler det til venner, kolleger, og sine nettverk. Leserskaren "
"har primært vokst gjennom jungeltelegrafen. Selv om de ikke har salg og "
"markedsføring, fremmer de sitt arbeid gjennom sosiale medier (inkludert "
"Twitter og Facebook), og ved å være en akkreditert leverandør til Google "
"News."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4310
msgid ""
"It’s usual for the founders of any company to ask themselves what kind of "
"company it should be. It quickly became clear to the founders of the "
"Conversation that they wanted to create a public good rather than make money "
"off of information. Most media companies are working to aggregate as many "
"eyeballs as possible and sell ads. The Conversation founders didn’t want "
"this model. It takes no advertising and is a not-for-profit venture."
msgstr ""
"Det er vanlig for grunnleggerne av alle selskaper å spørre seg selv hva "
"slags selskap det skal være. Det ble raskt klart for grunnleggerne av "
"Conversation at de ønsket å opprette et offentlig gode i stedet for å tjene "
"penger på informasjonen. De fleste medieselskaper arbeider med å samle så "
"mange øyne som mulig for salg av annonser. Conversation-stifterne ønsket "
"ikke den modellen. De har ingen reklame og er et ikke-for-profitt -"
"foretagende."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4319
msgid ""
"There are now different editions of the Conversation for Africa, the United "
"Kingdom, France, and the United States, in addition to the one for "
"Australia. All five editions have their own editorial mastheads, advisory "
"boards, and content. The Conversation’s global virtual newsroom has roughly "
"ninety staff working with thirty-five thousand academics from over sixteen "
"hundred universities around the world. The Conversation would like to be "
"working with university scholars from even more parts of the world."
msgstr ""
"I dag er det ulike utgaver av Conversation for Afrika, Storbritannia, "
"Frankrike og USA, i tillegg til en for Australia. Alle fem versjonene har "
"egne redaksjonelle kolofoner, eget rådgivende styre og eget innhold. "
"Conversations globale virtuelle redaksjon har omtrent nitti ansatte som "
"arbeider med trettifem tusen akademikere fra over seksten hundre "
"universiteter over hele verden. Conversation ønsker å jobbe med "
"universitetsforskere fra enda flere deler av verden."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4329
msgid ""
"Additionally, each edition has its own set of founding partners, strategic "
"partners, and funders. They’ve received funding from foundations, "
"corporates, institutions, and individual donations, but the Conversation is "
"shifting toward paid memberships by universities and research institutions "
"to sustain operations. This would safeguard the current service and help "
"improve coverage and features."
msgstr ""
"I tillegg har hver utgave sitt eget sett av finansieringspartnere, "
"strategiske partnere og finansielle bidragsytere. De har mottatt "
"finansiering fra stiftelser, bedrifter, institusjoner og individuelle "
"donasjoner, men Conversation beveger seg mot betalt medlemskap fra "
"universiteter og forskningsinstitusjoner for å  videreføre virksomheten. "
"Dette ville sikre den nåværende tjenesten, og hjelpe til med å forbedre "
"dekning og funksjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4338
msgid ""
"When professors from member universities write an article, there is some "
"branding of the university associated with the article. On the Conversation "
"website, paying university members are listed as “members and funders.” "
"Early participants may be designated as “founding members,” with seats on "
"the editorial advisory board."
msgstr ""
"Når professorer fra medlemsuniversiteter skriver en artikkel, er det noe "
"merkevarebygging for universitetet tilknyttet artikkelen. På Conversations "
"nettside, er betalende universitetsmedlemmer oppført som \"medlemmer og "
"finansierere .\" Tidlige deltakerne kan angis som \"grunnleggermedlemmer\", "
"med plass i det redaksjonelle rådgivende styre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4345
msgid ""
"Academics are not paid for their contributions, but they get free editing "
"from a professional (four to five hours per piece, on average). They also "
"get access to a large audience. Every author and member university has "
"access to a special analytics dashboard where they can check the reach of an "
"article. The metrics include what people are tweeting, the comments, "
"countries the readership represents, where the article is being republished, "
"and the number of readers per article."
msgstr ""
"Akademikere betales ikke for sine bidrag, men får fri redigeringsbistand fra "
"en profesjonell (fire til fem timer i gjennomsnitt per stykke).  De får også "
"tilgang til et stort publikum. Hver forfatter og medlems-universitet har "
"tilgang til en spesiell analyseoversikt der de kan se hvor langt en artikkel "
"rekker ut. Beregningene omfatter hva folk kvitrer, kommentarene, landene "
"lesekretsen representerer, hvor artikkelen er viderepublisert, og antall "
"lesere per artikkel."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4355
msgid ""
"The Conversation plans to expand the dashboard to show not just reach but "
"impact. This tracks activities, behaviors, and events that occurred as a "
"result of publication, including things like a scholar being asked to go on "
"a show to discuss their piece, give a talk at a conference, collaborate, "
"submit a journal paper, and consult a company on a topic."
msgstr ""
"Conversation planlegger å utvide analyseverktøyet til å vise ikke bare "
"spredning, men innvirkning. Dette sporer aktiviteter, atferd og hendelser "
"som som følge av publikasjonen, inkludert ting som at en fagperson blir bedt "
"om å være med på en forestilling for å diskutere sitt bidrag, holde en tale "
"på en konferanse, samarbeide, sende et bidrag til en journal og konsultere "
"et selskap om et emne."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4363
msgid ""
"These reach and impact metrics show the benefits of membership.  With the "
"Conversation, universities can engage with the public and show why they’re "
"of value."
msgstr ""
"Disse gjennomslags- og rekkeviddeberegningene viser fordelene ved "
"medlemskap. Med Conversation kan universiteter engasjere offentligheten, og "
"vise at de er verdifulle."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4368
msgid ""
"With its tagline, “Academic Rigor, Journalistic Flair,” the Conversation "
"represents a new form of journalism that contributes to a more informed "
"citizenry and improved democracy around the world. Its open business model "
"and use of Creative Commons show how it’s possible to generate both a public "
"good and operational revenue at the same time."
msgstr ""
"Med sitt slagord, «Akademisk standhaftighet, journalistisk finesse», "
"representerer Conversation en ny form for journalistikk som bidrar til en "
"bedre informert borgerstand, og forbedret demokrati rundt om i verden. Dets "
"åpne forretningsmodell og bruk av Creative Commons viser hvordan det er "
"mulig å bygge opp både et offentlig gode, og inndrive operasjonelle "
"inntekter samtidig."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4377
msgid "Cory Doctorow"
msgstr "Cory Doctorow"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4380
msgid ""
"Cory Doctorow is a science fiction writer, activist, blogger, and "
"journalist. Based in the U.S."
msgstr ""
"Cory Doctorow er en science fiction-forfatter, aktivist, blogger og "
"journalist med base i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4383
msgid ""
"<ulink url=\"http://craphound.com\"/> and <ulink url=\"http://boingboing.net"
"\"/>"
msgstr ""
"<ulink url=\"http://craphound.com\"/> og <ulink url=\"http://boingboing.net"
"\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4386
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies (book sales), pay-what-you-want, selling translation rights to books"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for fysiske "
"kopier (boksalg), betal-hva-du-vil, salg av rettigheter til bokoversettelser"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4390
msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 12, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 12.  januar 2016"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4398
msgid ""
"Cory Doctorow hates the term “business model,” and he is adamant that he is "
"not a brand. “To me, branding is the idea that you can take a thing that has "
"certain qualities, remove the qualities, and go on selling it,” he said. "
"“I’m not out there trying to figure out how to be a brand. I’m doing this "
"thing that animates me to work crazy insane hours because it’s the most "
"important thing I know how to do.”"
msgstr ""
"Cory Doctorow hater begrepet «forretningsmodell», og han er ubøyelig på at "
"han ikke er en merkevare. «For meg er merkevarebygging idéen om at du kan ta "
"en ting som har visse kvaliteter, fjerne kvalitetene og så gå i gang med å "
"selge det», sa han. «Jeg er ikke der ute for å prøve å finne ut hvordan man "
"blir en merkevare. Jeg gjør det som egger meg i det å arbeide et utallig "
"antall timer fordi det er det aller viktigste jeg vet hvordan skal gjøres»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4407
msgid ""
"Cory calls himself an entrepreneur. He likes to say his success came from "
"making stuff people happened to like and then getting out of the way of them "
"sharing it."
msgstr ""
"Cory kaller seg entreprenør. Han liker å si at hans suksess kom fra å gjøre "
"ting folk tilfeldigvis liker, for så å ikke være i veien når de deler det."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4412
msgid ""
"He is a science fiction writer, activist, blogger, and journalist.  "
"Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003, "
"his work has been published under a Creative Commons license. Cory is "
"coeditor of the popular CC-licensed site Boing Boing, where he writes about "
"technology, politics, and intellectual property. He has also written several "
"nonfiction books, including the most recent Information Doesn’t Want to Be "
"Free, about the ways in which creators can make a living in the Internet age."
msgstr ""
"Han er science fiction-forfatter, aktivist, blogger og journalist. Han "
"begynte med sin første roman, Down and Out in the Magic Kingdom, i 2003, med "
"sitt arbeid publisert med en Creative Commons-lisens. Cory er medredaktør av "
"det populære CC-lisensierte nettstedet Boing Boing, der han skriver om "
"teknologi, politikk, opphavsrett og programvarepatenter. Han har også "
"skrevet flere sakprosa-bøker, inkludert den nyeste «Information Doesn’t Want "
"to Be Free», om måtene innholdsprodusenter kan skaffe seg et levebrød i "
"Internett-alderen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4423
msgid ""
"Cory primarily makes money by selling physical books, but he also takes on "
"paid speaking gigs and is experimenting with pay-what-you-want models for "
"his work."
msgstr ""
"Cory tjener primært penger ved å selge fysiske bøker, men han tar også "
"betalt på foredragsarrangementer, og  eksperimenterer med betal-hva-du-vil-"
"modeller for sitt arbeid."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4428
msgid ""
"While Cory’s extensive body of fiction work has a large following, he is "
"just as well known for his activism. He is an outspoken opponent of "
"restrictive copyright and digital-rights-management (DRM) technology used to "
"lock up content because he thinks both undermine creators and the public "
"interest. He is currently a special adviser at the Electronic Frontier "
"Foundation, where he is involved in a lawsuit challenging the U.S. law that "
"protects DRM.  Cory says his political work doesn’t directly make him money, "
"but if he gave it up, he thinks he would lose credibility and, more "
"importantly, lose the drive that propels him to create. “My political work "
"is a different expression of the same artistic-political urge,” he said. “I "
"have this suspicion that if I gave up the things that didn’t make me money, "
"the genuineness would leach out of what I do, and the quality that causes "
"people to like what I do would be gone.”"
msgstr ""
"Mens Corys omfattende fiksjonsforfatterskap har en stor tilhengerskare, er "
"han like godt kjent for sin aktivisme. Han er en frittalende motstander av "
"at restriktiv opphavsretts- og digital rettighetshåndteringsteknologi (DRM-"
"teknologi ) brukes til å låse innhold, fordi han mener begge undergraver "
"innholdsprodusenters- og offentlighetens interesser. Han er spesialrådgiver "
"for Electronic Frontier Foundation, hvor han er involvert i en rettssak som "
"utfordrer den amerikanske lovens beskyttelse av DRM. Cory sier at hans "
"politiske arbeid ikke er direkte inntektsbringende, men hvis han ga det opp, "
"tror han at han vil miste troverdighet, og enda viktigere, tape pågangsmotet "
"som driver ham til å lage innhold. «Mitt politiske arbeid er et annet "
"uttrykk for den samme kunstnerisk-politiske trangen», sa han. «Jeg har denne "
"mistanken om at hvis jeg ga opp tingene som ikke ga meg penger, ville "
"ektheten forsvinne fra det jeg gjør, og kvaliteten som fører folk til å like "
"det jeg gjør, ville bli borte»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4445
msgid ""
"Cory has been financially successful, but money is not his primary "
"motivation. At the start of his book Information Doesn’t Want to Be Free, he "
"stresses how important it is not to become an artist if your goal is to get "
"rich. “Entering the arts because you want to get rich is like buying lottery "
"tickets because you want to get rich,” he wrote. “It might work, but it "
"almost certainly won’t.  Though, of course, someone always wins the "
"lottery.” He acknowledges that he is one of the lucky few to “make it,” but "
"he says he would be writing no matter what. “I am compelled to write,” he "
"wrote. “Long before I wrote to keep myself fed and sheltered, I was writing "
"to keep myself sane.”"
msgstr ""
"Cory har blitt økonomisk vellykket, men penger er ikke hans viktigste "
"motivasjon. I begynnelsen i boka  «Information Doesn’t Want to Be Free» "
"understreker han hvor viktig det er å ikke bli kunstner, hvis målet ditt er "
"å bli rik. «Å velge kunsten fordi du ønsker å bli rik er som å kjøpe lodd, "
"fordi du vil bli rik», skrev han. «Det kan fungere, men det vil nesten helt "
"sikkert ikke gjøre det. Selvfølgelig vinner noen selv alltid lotteriet». Han "
"erkjenner at han er en av de heldige få som «får det til», men han sier han "
"vil skrive samme hva. «Jeg er nødt til å skrive», skrev han. «Lenge før jeg "
"skrev for å få mat på bordet og tak over hodet, skrev jeg for å holde meg "
"selv frisk»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4458
msgid ""
"Just as money is not his primary motivation to create, money is not his "
"primary motivation to share. For Cory, sharing his work with Creative "
"Commons is a moral imperative. “It felt morally right,” he said of his "
"decision to adopt Creative Commons licenses. “I felt like I wasn’t "
"contributing to the culture of surveillance and censorship that has been "
"created to try to stop copying.” In other words, using CC licenses "
"symbolizes his worldview."
msgstr ""
"Akkurat som penger ikke er hans primære motivasjon for å skape, er penger "
"ikke hans primære motivasjon for å dele. For Cory er å dele sitt arbeid med "
"Creative Commons et moralsk imperativ. «Det føltes moralsk riktig», sa han "
"om sin beslutning om å ta i bruk (vedta) Creative Commons-lisenser. «Jeg "
"følte at jeg ikke var bidragsyter til overvåkningskultur og sensur, som er "
"opprettet for å prøve å stoppe kopieringen». Med andre ord symboliserer "
"bruken av CC-lisenser hans verdensbilde."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4468
msgid ""
"He also feels like there is a solid commercial basis for licensing his work "
"with Creative Commons. While he acknowledges he hasn’t been able to do a "
"controlled experiment to compare the commercial benefits of licensing with "
"CC against reserving all rights, he thinks he has sold more books using a CC "
"license than he would have without it. Cory says his goal is to convince "
"people they should pay him for his work. “I started by not calling them "
"thieves,” he said."
msgstr ""
"Han føler også at det finnes en solid kommersiell basis for lisensiering av "
"sitt arbeid med Creative Commons. Mens han erkjenner at han ikke har vært i "
"stand til å gjøre et kontrollert eksperiment for å sammenligne de "
"kommersielle fordelene ved lisensiering med CC opp mot å reservere alle "
"rettigheter, mener han at han har solgt flere bøker ved å bruke en CC-lisens "
"enn han ville ha gjort uten. Cory sier at hans mål er å overbevise folk om "
"at de skal betale ham for sitt arbeid. «Jeg startet med å ikke kalle dem "
"tyver», sa han."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4478
msgid ""
"Cory started using CC licenses soon after they were first created.  At the "
"time his first novel came out, he says the science fiction genre was overrun "
"with people scanning and downloading books without permission. When he and "
"his publisher took a closer look at who was doing that sort of thing online, "
"they realized it looked a lot like book promotion. “I knew there was a "
"relationship between having enthusiastic readers and having a successful "
"career as a writer,” he said. “At the time, it took eighty hours to OCR a "
"book, which is a big effort. I decided to spare them the time and energy, "
"and give them the book for free in a format destined to spread.”"
msgstr ""
"Cory startet bruken av CC-lisenser like etter at de var laget ferdige. Da "
"hans første novelle kom ut, sa han at science fiction-sjangeren var misbrukt "
"av folk som lastet ned og delte bøker uten lov. Da han i samråd med sin "
"forlegger tok dem som gjorde dette på nett i nærmere øyesyn, skjønte de at "
"det så mer ut som bokpromotering. «Jeg visste at det var en symbiose mellom "
"en entusiastisk leserskare og suksess som skribent», sa han. «På den tiden "
"tok det åtti timer å tegnlese (OCR) en bok (OCR – optical character "
"recognition), noe som krever mye innsats. Jeg besluttet å spare dem tiden og "
"energien, og gi ut boken min gratis i et format som var  beregnet for "
"spredning»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4491
msgid ""
"Cory admits the stakes were pretty low for him when he first adopted "
"Creative Commons licenses. He only had to sell two thousand copies of his "
"book to break even. People often said he was only able to use CC licenses "
"successfully at that time because he was just starting out. Now they say he "
"can only do it because he is an established author."
msgstr ""
"Cory innrømmer at satsingen hans var ganske liten da han først tok i bruk "
"Creative Commons-lisenser. Han måtte bare selge to tusen eksemplarer av boka "
"si for å gå i null. Folk sa ofte at han kun var i stand til å nytte CC-"
"lisensiering med hell på dette tidspunktet fordi han var i startfasen. Nå "
"sier de at det er som følge av hans etablerte forfatterskap."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4499
msgid ""
"The bottom line, Cory says, is that no one has found a way to prevent people "
"from copying the stuff they like. Rather than fighting the tide, Cory makes "
"his work intrinsically shareable.  “Getting the hell out of the way for "
"people who want to share their love of you with other people sounds obvious, "
"but it’s remarkable how many people don’t do it,” he said."
msgstr ""
"I konklusjonen, sier Cory at ingen har funnet en måte å forhindre folk fra å "
"kopiere ting de liker. Snarere enn å opptre naturstridig, gjør han sitt "
"arbeid egentlig (iboende) delbart. «Å i god fart komme seg vekk fra å være i "
"veien for folk som vil dele sin kjærlighet til deg med andre, høres opplagt "
"ut, men det er oppsiktsvekkende hvor mange som ikke synes det»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4507
msgid ""
"Making his work available under Creative Commons licenses enables him to "
"view his biggest fans as his ambassadors. “Being open to fan activity makes "
"you part of the conversation about what fans do with your work and how they "
"interact with it,” he said. Cory’s own website routinely highlights cool "
"things his audience has done with his work. Unlike corporations like Disney "
"that tend to have a hands-off relationship with their fan activity, he has a "
"symbiotic relationship with his audience. “Engaging with your audience can’t "
"guarantee you success,” he said. “And Disney is an example of being able to "
"remain aloof and still being the most successful company in the creative "
"industry in history. But I figure my likelihood of being Disney is pretty "
"slim, so I should take all the help I can get.”"
msgstr ""
"Ved å gjøre sitt arbeid tilgjengelig med CC-lisenser gjør at han kan se på "
"sine mest ihuga tilhengere som sine ambassadører. «Å være åpen for fan-"
"aktivitet gjør deg til en del av samtalen om hva tilhengere gjør med ditt "
"arbeid, og hvordan de kommuniserer med det», sa han. Corys egen nettside "
"framhever regelmessig kule ting hans publikum har gjort med hans arbeid. "
"Ulikt selskaper som Disney, som tenderer til å ha et hendene vekk-forhold "
"til sin fanskare, har han en nær sameksistens med sitt publikum. «Å "
"engasjerer ditt publikum kan ikke garantere suksess», sa han. «Og Disney er "
"et eksempel å merke seg, idet det tross alt er det mest vellykkede selskapet "
"i den kreative industrien. Dog regner jeg med at sannsynligheten for å bli "
"som Disney er heller liten, så jeg bør ta all den hjelp jeg kan få»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4522
msgid ""
"His first book was published under the most restrictive Creative Commons "
"license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only "
"verbatim copying for noncommercial purposes. His later work is published "
"under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which "
"gives people the right to adapt his work for noncommercial purposes but only "
"if they share it back under the same license terms. Before releasing his "
"work under a CC license that allows adaptations, he always sells the right "
"to translate the book to other languages to a commercial publisher first. He "
"wants to reach new potential buyers in other parts of the world, and he "
"thinks it is more difficult to get people to pay for translations if there "
"are fan translations already available for free."
msgstr ""
"Hans første bok ble publisert med den mest restriktive Creative Commons-"
"lisensen, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). Den tillater kun "
"helhetlig kopiering for ikke-kommersielle formål. Hans senere arbeider kom "
"ut under Attribution-NonCommercial-ShareAlike-lisensen (CC BY-NC-SA), som "
"gir folk retten til å endre hans arbeider for ikke-kommersielle formål, men "
"bare hvis de deler på like lisensvilkår. Før han utgir sitt arbeid under en "
"CC-lisens som tillater bearbeidelser, selger han alltid retten til å "
"oversette boka til andre språk til en kommersiell forlegger først. Han "
"ønsker å nå nye potensielle kjøpere i andre deler av verden, og tror det er "
"vanskeligere å få folk til å betale for oversettelser hvis det allerede "
"finnes uprofesjonelle oversettelser tilgjengelig gratis."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4537
msgid ""
"In his book Information Doesn’t Want to Be Free, Cory likens his philosophy "
"to thinking like a dandelion. Dandelions produce thousands of seeds each "
"spring, and they are blown into the air going in every direction. The "
"strategy is to maximize the number of blind chances the dandelion has for "
"continuing its genetic line. Similarly, he says there are lots of people out "
"there who may want to buy creative work or compensate authors for it in some "
"other way. “The more places your work can find itself, the greater the "
"likelihood that it will find one of those would-be customers in some "
"unsuspected crack in the metaphorical pavement,” he wrote.  “The copies that "
"others make of my work cost me nothing, and present the possibility that "
"I’ll get something.”"
msgstr ""
"I sin bok «Information Doesn't Want to Be Free», sammenligner Cory sin "
"filosofi med løvetannen. De produserer tusener av frø hver vår, og de blåses "
"for alle vinder i alle retninger. Strategien er å maksimalisere antall "
"tilfeldigheter som må på plass for at den skal kunne videreføre sin "
"herkomst. Likeledes sier han at det finnes mange der ute som ønsker å kjøpe "
"kreative arbeider, eller kompensere forfattere for dem, på en eller annen "
"måte. «Desto flere plasser ditt arbeid kan finne sitt publikum, desto større "
"er sjansen for at en potensiell kunde skal dukke opp», skrev han. «Kopiene "
"andre gjør av arbeidet koster meg ingenting, og gjør det mulig at jeg vil få "
"noe tilbake»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4551
msgid ""
"Applying a CC license to his work increases the chances it will be shared "
"more widely around the Web. He avoids DRM—and openly opposes the practice—"
"for similar reasons. DRM has the effect of tying a work to a particular "
"platform. This digital lock, in turn, strips the authors of control over "
"their own work and hands that control over to the platform. He calls it "
"Cory’s First Law: “Anytime someone puts a lock on something that belongs to "
"you and won’t give you the key, that lock isn’t there for your benefit.”"
msgstr ""
"Bruk av  en CC-lisens i sitt arbeid øker sjansen for at det skal deles viden "
"rundt på nettet. Han unngår DRM (Digital rights management) – og nytter "
"åpent høvet til å ville avskaffe slikt – av lignende grunner. DRM har som "
"effekt å prøve å binde et verk til en spesiell plattform. Denne digitale "
"låsen vil i sin tur medføre at forfatterne mister kontroll over eget arbeid, "
"og overleverer kontrollen til plattformen. Han kaller det Corys første lov: "
"«Hver gang noen putter en lås på noe som tilhører deg, og ikke ønsker å gi "
"deg nøkkelen, er den ikke der i hensikt å gagne deg»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4561
msgid ""
"Cory operates under the premise that artists benefit when there are more, "
"rather than fewer, places where people can access their work. The Internet "
"has opened up those avenues, but DRM is designed to limit them. “On the one "
"hand, we can credibly make our work available to a widely dispersed "
"audience,” he said. “On the other hand, the intermediaries we historically "
"sold to are making it harder to go around them.” Cory continually looks for "
"ways to reach his audience without relying upon major platforms that will "
"try to take control over his work."
msgstr ""
"Cory opererer under premisset at artister nyter godt av flere, snarere enn "
"færre plasser tilgjengelig for sitt arbeid. Internett har åpnet opp disse "
"veiene, men DRM er designet for å begrense dem. «På den ene siden kan vi i "
"god tro gjøre vårt arbeid tilgjengelig for et bredt publikum», sa han. «På "
"den andre siden gjør formidlerne vi tradisjonelt har gått til det "
"vanskeligere å komme unna dem». Cory ser kontinuerlig etter måter å nå sitt "
"publikum på uten å måtte stole på store plattformer som ønsker å ta "
"kontrollen over hans arbeid."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4572
msgid ""
"Cory says his e-book sales have been lower than those of his competitors, "
"and he attributes some of that to the CC license making the work available "
"for free. But he believes people are willing to pay for content they like, "
"even when it is available for free, as long as it is easy to do. He was "
"extremely successful using Humble Bundle, a platform that allows people to "
"pay what they want for DRM-free versions of a bundle of a particular "
"creator’s work. He is planning to try his own pay-what-you-want experiment "
"soon."
msgstr ""
"Cory sier at hans nettbaserte e-boksalg har vært lavere enn sine "
"konkurrenters, og han mener noe av det skriver seg til bruken av CC-"
"lisensiering,  idet det gjør arbeidene tilgjengelige gratis. Han tror dog at "
"folk er villige til å betale for innhold de liker, selv når det er "
"tilgjengelig gratis, så lenge det er enkelt å gjøre. Han traff helt blink i "
"bruken av Humble Bundle, en plattform som tillater folk å betale det de vil, "
"for DRM-frie versjoner av et knippe arbeider. Han planlegger å sette sitt "
"eget betal-hva-du-vil -eksperiment ut i livet snart."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4583
msgid ""
"Fans are particularly willing to pay when they feel personally connected to "
"the artist. Cory works hard to create that personal connection. One way he "
"does this is by personally answering every single email he gets. “If you "
"look at the history of artists, most die in penury,” he said. “That reality "
"means that for artists, we have to find ways to support ourselves when "
"public tastes shift, when copyright stops producing. Future-proofing your "
"artistic career in many ways means figuring out how to stay connected to "
"those people who have been touched by your work.”"
msgstr ""
"Tilhengere er i særdeleshet villig til å betale når de føler seg personlig "
"knyttet til artisten. Cory arbeider hardt for å knytte de personlige "
"båndene. Én måte han gjør dette på er å svare personlig på hver eneste e-"
"post han får. «Hvis du ser på artisters historikk, vil du se at de fleste "
"dør i elendighet», sier han. «Det betyr at for artister må vi finne måter å "
"støtte oss selv på, når publikums smak tar en annen retning, når "
"opphavsretten slutter å produsere. Å sikre sin artistiske karriére for "
"fremtiden er på mange måter noe som handler om å holde kontakten med dem som "
"har blitt rørt av ditt arbeid»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4594
msgid ""
"Cory’s realism about the difficulty of making a living in the arts does not "
"reflect pessimism about the Internet age. Instead, he says the fact that it "
"is hard to make a living as an artist is nothing new. What is new, he writes "
"in his book, “is how many ways there are to make things, and to get them "
"into other people’s hands and minds.”"
msgstr ""
"Corys realisme om vanskeligheten rundt det å leve av kunsten gjør seg ikke "
"gjeldende som pessimisme rundt internettalderen. Isteden sier han at det "
"faktum at det er vanskelig å livnære seg som artist, ikke er noe nytt. «Det "
"som er nytt», skriver han i sin bok, «er hvor mange måter det går an å lage "
"ting på, og hvordan man får dem inn i andre folks sinn og hender»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4602
msgid "It has never been easier to think like a dandelion."
msgstr "Det har aldri vært lettere å rette tankene i løvetannens baner."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4606
msgid "Figshare"
msgstr "Figshare"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4609
msgid ""
"Figshare is a for-profit company offering an online repository where "
"researchers can preserve and share the output of their research, including "
"figures, data sets, images, and videos.  Founded in 2011 in the UK."
msgstr ""
"Figshare er et selskap som er basert på fortjeneste, og tilbyr et online "
"(nettbasert) oppbevaringssted der forskere kan bevare og dele resultatet av "
"sin forskning, inkludert tall, datasett, bilder og videoer. Grunnlagt i 2011 "
"i Storbritannia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4615
msgid "<ulink url=\"http://figshare.com\"/>"
msgstr "<ulink url=\"http://figshare.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4617
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: platform providing paid "
"services to creators"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Plattform som tilbyr "
"betalte tjenester til innholdsleverandører"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4620
msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 28, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 28. januar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4623
msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Mark Hahnel, founder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Mark Hahnel, grunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4631
msgid ""
"Figshare’s mission is to change the face of academic publishing through "
"improved dissemination, discoverability, and reusability of scholarly "
"research. Figshare is a repository where users can make all the output of "
"their research available—from posters and presentations to data sets and code"
"—in a way that’s easy to discover, cite, and share. Users can upload any "
"file format, which can then be previewed in a Web browser. Research output "
"is disseminated in a way that the current scholarly-publishing model does "
"not allow."
msgstr ""
"Figshares mål er å endre den vitenskapelige publiseringens fremside gjennom "
"forbedret formidling, gjenkjenning og gjenbruk av akademisk forskning. "
"Figshare er et oppbevaringssted hvor brukere kan gjøre alle resultatene av "
"sin forskning tilgjengelig – fra plakater og presentasjoner til datasett og "
"kode – på en måte som er lett å oppdage, sitere og dele. Brukerne kan laste "
"opp alle filformater, som deretter kan forhåndsvises i en nettleser.  "
"Forskningsresultater formidles på en måte som den gjeldende modellen for "
"vitenskapelig disiplinpublisering ikke tillater."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4642
msgid ""
"Figshare founder Mark Hahnel often gets asked: How do you make money? How do "
"we know you’ll be here in five years? Can you, as a for-profit venture, be "
"trusted? Answers have evolved over time."
msgstr ""
"Figshares grunnlegger, Mark Hahnel, får ofte spørsmål om hvordan han tjener "
"penger? Hvordan vet vi at du er her om fem år? Kan du, som er for "
"fortjeneste, være å stole på? Svarene har utviklet seg over tid."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4647
msgid ""
"Mark traces the origins of Figshare back to when he was a graduate student "
"getting his PhD in stem cell biology. His research involved working with "
"videos of stem cells in motion. However, when he went to publish his "
"research, there was no way for him to also publish the videos, figures, "
"graphs, and data sets. This was frustrating. Mark believed publishing his "
"complete research would lead to more citations and be better for his career."
msgstr ""
"Mark sporer opprinnelsen til Figshare tilbake til da han som student skulle "
"ta sin Ph.D.-eksamen i stamcellebiologi. Hans forskning involverte å arbeide "
"med videoer av stamceller i bevegelse. Men da han skulle  publisere sin "
"forskning, var det umulig for ham å også publisere videoer, figurer, "
"diagrammer og datasett. Dette var frustrerende. Mark trodde at å publisere "
"sin forskning fullstendig, ville føre til flere sitater, og være bedre for "
"hans karriere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4656
msgid ""
"Mark does not consider himself an advanced software programmer.  "
"Fortunately, things like cloud-based computing and wikis had become "
"mainstream, and he believed it ought to be possible to put all his research "
"online and share it with anyone. So he began working on a solution."
msgstr ""
"Mark anser seg ikke som noen avansert programmerer. Beleilig nok hadde ting "
"som skybasert regnekraft (databehandling) og wikier blitt allemannseie, og "
"han trodde det ville vært mulig å putte sitt forskningsarbeid på nett, og "
"dele det med alle. Dernest begynte han å arbeide med en løsning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4663
msgid ""
"There were two key needs: licenses to make the data citable, and persistent "
"identifiers— URL links that always point back to the original object "
"ensuring the research is citable for the long term."
msgstr ""
"Det var to nøkkelbehov: Lisensene måtte gjøre dataene mulig å sitere, samt å "
"gi dem varige identifikatorer – nettadresser som alltid peker tilbake til "
"originalobjektet for å sikre at forskningen kan siteres på lang sikt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4669
msgid ""
"Mark chose Digital Object Identifiers (DOIs) to meet the need for a "
"persistent identifier. In the DOI system, an object’s metadata is stored as "
"a series of numbers in the DOI name. Referring to an object by its DOI is "
"more stable than referring to it by its URL, because the location of an "
"object (the web page or URL) can often change. Mark partnered with DataCite "
"for the provision of DOIs for research data."
msgstr ""
"Mark valgte digitale objektidentifikatorer (DOI-er) for å møte behovet for "
"vedvarende identifikatorer. I DOI-systemet blir et objekts metadata lagret "
"som en serie nummer i DOI-navnet. Å referere til et objekt ved sitt DOI er "
"mer stabilt enn å bruke nettadressen, fordi plasseringen av et objekt "
"(nettsiden eller -adressen) ofte kan endre seg. Mark gikk i partnerskap med "
"DataCite for å tilby DOI-er for forskningsdata."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4678
msgid ""
"As for licenses, Mark chose Creative Commons. The open-access and open-"
"science communities were already using and recommending Creative Commons. "
"Based on what was happening in those communities and Mark’s dialogue with "
"peers, he went with CC0 (in the public domain) for data sets and CC BY "
"(Attribution) for figures, videos, and data sets."
msgstr ""
"Når det gjelder lisenser, valgte Mark Creative Commons. Miljøene for åpen "
"tilgang og tilsvarende forskning brukte allerede, og anbefalte Creative "
"Commons. Basert på hva som skjedde i de kretsene, og Marks samtaler med sine "
"fagfeller, gikk han for CC0 (tilsvarende offentlig eie) for datasett og CC "
"BY (Attribution) for figurer, videoer og datasett."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4686
msgid ""
"So Mark began using DOIs and Creative Commons for his own research work. He "
"had a science blog where he wrote about it and made all his data open. "
"People started commenting on his blog that they wanted to do the same. So he "
"opened it up for them to use, too."
msgstr ""
"Mark begynte å bruke DOI-er og Creative Commons for egen forskning. Han "
"hadde en vitenskapsblogg der han skrev om det, og gjorde all dataen åpen. "
"Folk startet å kommentere på bloggen hans at de ønsket å gjøre det samme. Så "
"han åpnet det opp for dem også."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4692
msgid ""
"People liked the interface and simple upload process. People started asking "
"if they could also share theses, grant proposals, and code. Inclusion of "
"code raised new licensing issues, as Creative Commons licenses are not used "
"for software. To allow the sharing of software code, Mark chose the MIT "
"license, but GNU and Apache licenses can also be used."
msgstr ""
"Folk likte grensesnittet og den enkle prosessen for å laste opp. Spørsmålene "
"kom så om hvorvidt avhandlinger, legatforespørsler og kode kunne deles. "
"Innlemming av kode bød på nye spørsmål vedrørende lisensiering, siden "
"Creative Commons-lisensene ikke brukes for programvare. For å tillate deling "
"av programvarekode, brukte Mark MIT-lisensen, men GNU- og Apache-lisenser "
"kan også brukes."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4700
msgid ""
"Mark sought investment to make this into a scalable product. After a few "
"unsuccessful funding pitches, UK-based Digital Science expressed interest "
"but insisted on a more viable business model.  They made an initial "
"investment, and together they came up with a freemium-like business model."
msgstr ""
"Mark trengte investeringer for å gjøre dette til et skalerbart produkt. "
"Etter noen mislykkede finansieringsinitiativ, uttrykte UK-baserte Digital "
"Science interesse, men insisterte på en mer levedyktig forretningsmodell. De "
"gjorde en innledende investering, og sammen kom de opp med en freemium som "
"forretningsmodell. (Ifølge Wikipedia er Freemium en forretningsmodell hvor "
"vanligvis en digital tjeneste eller anvendelse som programvare, media, spill "
"eller Internett-tjeneste, er tilgjengelig gratis, men at man må betale for "
"premiumfordeler, funksjonalitet eller virituelle eiendeler.)"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4707
msgid ""
"Under the freemium model, academics upload their research to Figshare for "
"storage and sharing for free. Each research object is licensed with Creative "
"Commons and receives a DOI link. The premium option charges researchers a "
"fee for gigabytes of private storage space, and for private online space "
"designed for a set number of research collaborators, which is ideal for "
"larger teams and geographically dispersed research groups. Figshare sums up "
"its value proposition to researchers as “You retain ownership. You license "
"it. You get credit. We just make sure it persists.”"
msgstr ""
"Under freemium-modellen laster akademikere gratis opp forskningen sin til "
"Figshare for lagring og deling. Hvert forskningsobjekt er lisensiert med "
"Creative Commons, og mottar en DOI-lenke (DOI: Digital object identifier). I "
"premium-alternativet blir  forskere krevet en avgift for gigabyte med privat "
"lagringsplass, og for private nettsteder designet for et bestemt antall "
"partnere i et forskningssamarbeid, som er ideelt for større grupper og "
"geografisk spredte forskningsgrupper. Figshare oppsummerer sine verdimål for "
"forskere som «Du beholder eierskap. Du lisensierer det. Du krediteres. Vi "
"sikrer bare at det varer»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4718
msgid ""
"In January 2012, Figshare was launched. (The fig in Figshare stands for "
"figures.) Using investment funds, Mark made significant improvements to "
"Figshare. For example, researchers could quickly preview their research "
"files within a browser without having to download them first or require "
"third-party software. Journals who were still largely publishing articles as "
"static noninteractive PDFs became interested in having Figshare provide that "
"functionality for them."
msgstr ""
"Figshare ble lansert i januar 2012. (Fig i Figshare står for tall.) Ved å "
"bruke investeringsfond fikk Mark til betydelige forbedringer i Figshare. For "
"eksempel kan forskere raskt forhåndsvise forskningsfilene i en nettleser "
"uten å laste dem ned først, eller forutsette en tredjeparts programvare. "
"Journaler (tidsskrifter) som fortsatt i stor grad publiserte artikler som "
"statiske ikke-interaktive PDF-filer, ble interessert i å få Figshare til å "
"gi dem denne funksjonaliteten."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4728
msgid ""
"Figshare diversified its business model to include services for journals. "
"Figshare began hosting large amounts of data for the journals’ online "
"articles. This additional data improved the quality of the articles. "
"Outsourcing this service to Figshare freed publishers from having to develop "
"this functionality as part of their own infrastructure. Figshare-hosted data "
"also provides a link back to the article, generating additional click-"
"through and readership—a benefit to both journal publishers and "
"researchers.  Figshare now provides research-data infrastructure for a wide "
"variety of publishers including Wiley, Springer Nature, PLOS, and Taylor and "
"Francis, to name a few, and has convinced them to use Creative Commons "
"licenses for the data."
msgstr ""
"Figshare utvidet sin forretningmodell til å omfatte tjenester for "
"tidsskrifter. Figshare begynte å leie ut plass til store datamengder til "
"tidsskriftenes artikler på nettet. Disse tilleggsdataene forbedret "
"kvaliteten på artiklene. Utkontrakting (outsourcing) av denne tjenesten til "
"Figshare frigjorde tidsskrifsutgiverne fra å utvikle denne oppgaven som en "
"del av sin egen infrastruktur. Data som Figshare huser har også en link "
"tilbake til artikkelen, noe som gir flere videreklikk og lesertall – en "
"fordel både for tidsskriftsutgivere og forskere. Figshare gir nå "
"infrastruktur til forskningsdata for en rekke utgivere medregnet Wiley, "
"Springer Nature, PLOS, og Taylor og Francis, for å nevne noen, og har "
"overbevist dem om å bruke Creative Commons-lisenser for dataene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4742
msgid ""
"Governments allocate significant public funds to research. In parallel with "
"the launch of Figshare, governments around the world began requesting the "
"research they fund be open and accessible.  They mandated that researchers "
"and academic institutions better manage and disseminate their research "
"outputs. Institutions looking to comply with this new mandate became "
"interested in Figshare. Figshare once again diversified its business model, "
"adding services for institutions."
msgstr ""
"Regjeringer tildeler betydelige offentlige midler til forskning. Parallelt "
"med lanseringen av Figshare begynte regjeringer over hele verden å  be om at "
"forskning de finansierer,  er åpen og tilgjengelig. De påla  forskere og "
"akademiske institusjoner å administrere og spre sine forskningsresultater "
"bedre. Institusjoner som vil overholde dette nye mandatet ble interessert i "
"Figshare. Figshare har igjen diversifisert (spredt) sin forretningsmodell, "
"og lagt til tjenester for institusjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4752
msgid ""
"Figshare now offers a range of fee-based services to institutions, including "
"their own minibranded Figshare space (called Figshare for Institutions) that "
"securely hosts research data of institutions in the cloud. Services include "
"not just hosting but data metrics, data dissemination, and user-group "
"administration.  Figshare’s workflow, and the services they offer for "
"institutions, take into account the needs of librarians and administrators, "
"as well as of the researchers."
msgstr ""
"Figshare tilbyr nå en rekke avgiftsbaserte tjenester til institusjoner, "
"inkludert sin egen miniutgave av Figshare for institusjoner (kalt Figshare "
"for Institutions) som gir et sikkert rom for institusjonenes forskningsdata "
"i skyen. Tjenestene inkluderer ikke utleie av plass, men databeregninger, "
"dataformidling og administrasjon av brukergrupper. Figshares arbeidsflyt og "
"tjenestene de tilbyr for institusjoner, tar hensyn til behovene til "
"bibliotekarer og administratorer, samt av forskerne."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4762
msgid ""
"As with researchers and publishers, Fig-share encouraged institutions to "
"share their research with CC BY (Attribution) and their data with CC0 (into "
"the public domain). Funders who require researchers and institutions to use "
"open licensing believe in the social responsibilities and benefits of making "
"research accessible to all. Publishing research in this open way has come to "
"be called open access. But not all funders specify CC BY; some institutions "
"want to offer their researchers a choice, including less permissive licenses "
"like CC BY-NC (Attribution-NonCommercial), CC BY-SA (Attribution-"
"ShareAlike), or CC BY-ND (Attribution-NoDerivs)."
msgstr ""
"Som med forskere og utgivere, oppmuntret Figshare-institusjoner om å dele "
"sin forskning med CC BY  (Attribution) og data med CC0 (for offentligheten). "
"Bidagsytere som forutsetter at forskere og institusjoner bruker åpen "
"lisensiering, tror på sosialt ansvar og fordelene ved å gjøre forskning "
"tilgjengelig for alle. Å publisere forskning på denne åpne måten er kommet "
"til å bli kalt «open access», åpen adgang.  Men ikke alle bidragsytere "
"spesifiserer CC BY; noen institusjoner vil tilby forskere et valg, inkludert "
"mindre liberale lisenser som CC BY-NC (Attribution-NonCommercial), CC BY-SA "
"(Attribution-ShareAlike) eller CC BY-ND (Attribution-NoDerivs)."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4775
msgid ""
"For Mark this created a conflict. On the one hand, the principles and "
"benefits of open science are at the heart of Figshare, and Mark believes CC "
"BY is the best license for this. On the other hand, institutions were saying "
"they wouldn’t use Figshare unless it offered a choice in licenses. He "
"initially refused to offer anything beyond CC0 and CC BY, but after seeing "
"an open-source CERN project offer all Creative Commons licenses without any "
"negative repercussions, he decided to follow suit."
msgstr ""
"For Mark skapte dette en konflikt. På den ene siden er prinsippene og "
"fordelene av åpen vitenskap i hjertet av Figshare, og Mark mener CC BY er "
"den beste lisensen for dette. På den annen side sa institusjoner at de ikke "
"ville bruke Figshare med mindre det tilbys et utvalg av lisenser. Han nektet "
"i utgangspunktet å tilby noe utover CC0 og CC BY, men etter å ha sett et "
"CERN-prosjekt med åpen kildekode tilby alle Creative Commons-lisensene uten "
"noen negative konsekvenser, bestemte han seg å følge etter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4785
msgid ""
"Mark is thinking of doing a Figshare study that tracks research "
"dissemination according to Creative Commons license, and gathering metrics "
"on views, citations, and downloads. You could see which license generates "
"the biggest impact. If the data showed that CC BY is more impactful, Mark "
"believes more and more researchers and institutions will make it their "
"license of choice."
msgstr ""
"Mark tenker på å lage en Figshare-studie, som sporer forskningsformidling "
"med Creative Commons-lisens, og samle beregninger av visninger, referanser, "
"og nedlastinger. Da kan du se hvilken lisens som genererer den største "
"effekten. Hvis data viste at CC BY er mer slagkraftig, tror Mark at flere og "
"flere forskere og institusjoner vil gjøre den til sin valgte lisens."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4798
msgid ""
"<ulink url=\"http://figshare.com/articles/"
"Journal_subscription_costs_FOIs_to_UK_universities/1186832\"/>"
msgstr ""
"<ulink url=\"http://figshare.com/articles/"
"Journal_subscription_costs_FOIs_to_UK_universities/1186832\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4801
msgid ""
"<ulink url=\"http://retr0.shinyapps.io/journal_costs/?year=2014&amp;"
"inst=19,22,38,42,59,64,80,95,136\"/>"
msgstr ""
"<ulink url=\"http://retr0.shinyapps.io/journal_costs/?year=2014&amp;"
"inst=19,22,38,42,59,64,80,95,136\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4793
msgid ""
"Figshare has an Application Programming Interface (API) that makes it "
"possible for data to be pulled from Figshare and used in other applications. "
"As an example, Mark shared a Figshare data set showing the journal "
"subscriptions that higher-education institutions in the United Kingdom paid "
"to ten major publishers.<placeholder type=\"footnote\" id=\"0\"/> Figshare’s "
"API enables that data to be pulled into an app developed by a completely "
"different researcher that converts the data into a visually interesting "
"graph, which any viewer can alter by changing any of the variables."
"<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Figshare har et programmeringsgrensesnitt (API - Application Programming "
"Interface) som gjør det mulig å hente data fra Figshare, og bruke det i "
"andre programmer. Som eksempel delte Mark et Figshare-datasett som viste "
"publiseringsabonnementskostnader betalt av høyere utdanningsinstitusjoner i "
"Storbritannia til ti store publiseringsforlag.<placeholder type=\"footnote\" "
"id=\"0\"/>  Figshare sitt API muliggjør bruk av den dataen i et program av "
"en helt annen forsker, som konverterer dataen til en visuelt interessant "
"graf, hvilket enhver seer kan endre ved å endre variablene.<placeholder type="
"\"footnote\" id=\"1\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4804
msgid ""
"The free version of Figshare has built a community of academics, who through "
"word of mouth and presentations have promoted and spread awareness of "
"Figshare. To amplify and reward the community, Figshare established an "
"Advisor program, providing those who promoted Figshare with hoodies and T-"
"shirts, early access to new features, and travel expenses when they gave "
"presentations outside of their area. These Advisors also helped Mark on what "
"license to use for software code and whether to offer universities an option "
"of using Creative Commons licenses."
msgstr ""
"Gratisversjonen av Figshare har medført et fellesskap av akademikere, som "
"ved jungeltelegrafen og presentasjoner har formidlet og spredt forståelse "
"for Figshare. For å forsterke og belønne fellesskapet etablerte Figshare et "
"Advisor-program (rådgiverprogram), gir dem som spredte Figshare med "
"hettegensere og T-skjorter, tidlig tilgang til nye funksjoner, og "
"reiseutgifter, når de innledet om programmet utenfor sitt område. Disse "
"rådgiverne hjalp også Mark med hvilken lisens som var aktuell til "
"programvarekoder, og om universiteter skulle tilbys muligheten til å bruke "
"Creative Commons-lisenser."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4819
msgid "<ulink url=\"http://figshare.com/features\"/>"
msgstr "<ulink url=\"http://figshare.com/features\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4815
msgid ""
"Mark says his success is partly about being in the right place at the right "
"time. He also believes that the diversification of Figshare’s model over "
"time has been key to success. Figshare now offers a comprehensive set of "
"services to researchers, publishers, and institutions.<placeholder type="
"\"footnote\" id=\"0\"/> If he had relied solely on revenue from premium "
"subscriptions, he believes Figshare would have struggled. In Figshare’s "
"early days, their primary users were early-career and late-career academics. "
"It has only been because funders mandated open licensing that Figshare is "
"now being used by the mainstream."
msgstr ""
"Mark sier at suksessen handler delvis om å være på rett sted til rett tid. "
"Han tror også at oppdelingen av Figshare sin modell over tid har vært "
"nøkkelen til suksess. Figshare tilbyr nå et helhetlig tjenestetilbud til "
"forskere, forleggere, og institusjoner.<placeholder type=\"footnote\" id="
"\"0\"/> Hvis han hadde begrenset seg til inntjening fra «premium»-"
"abonnementer, tror han det ville blitt vanskelig for Figshare.Til å begynne "
"med var deres hovedbrukere akademikere i starten og slutten av karrieren. "
"Det har kun vært fordi kronerullerne krevde åpen lisensiering at Figshare nå "
"brukes av allmenningen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4826
msgid ""
"Today Figshare has 26 million–plus page views, 7.5 million–plus downloads, "
"800,000–plus user uploads, 2 million–plus articles, 500,000-plus "
"collections, and 5,000–plus projects. Sixty percent of their traffic comes "
"from Google. A sister company called Altmetric tracks the use of Figshare by "
"others, including Wikipedia and news sources."
msgstr ""
"I dag har Figshare over 26 millioner sidevisninger, over 7.5 millioner "
"nedlastninger, over 800 000 opplastninger fra brukere, over 2 millioner "
"artikler, over 500 000 samlinger, og over 5000 prosjekter. 60 prosent av "
"trafikken deres kommer fra Google. Et søsterselskap kalt Altmetric sporer "
"bruken av Figshare av andre, inkludert Wikipedia og nyhetskilder."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4834
msgid ""
"Figshare uses the revenue it generates from the premium subscribers, journal "
"publishers, and institutions to fund and expand what it can offer to "
"researchers for free. Figshare has publicly stuck to its principles—keeping "
"the free service free and requiring the use of CC BY and CC0 from the start—"
"and from Mark’s perspective, this is why people trust Figshare. Mark sees "
"new competitors coming forward who are just in it for money. If Figshare was "
"only in it for the money, they wouldn’t care about offering a free version. "
"Figshare’s principles and advocacy for openness are a key differentiator. "
"Going forward, Mark sees Figshare not only as supporting open access to "
"research but also enabling people to collaborate and make new discoveries."
msgstr ""
"Figshare bruker inntektene de genererer fra sine premium-abonnenter, "
"tidsskriftsutgivere og institusjoner til å finansiere og utvide det de kan "
"tilby til forskere gratis. Figshare har offentlig holdt seg til sine "
"prinsipper,  ved å holde den gratis tjenesten gratis, og kreve bruk av CC BY "
"og CC0 fra begynnelsen. Fra Marks perspektiv er det derfor folk stoler på "
"Figshare. Mark ser nye konkurrenter som vokser frem, og bare er der for "
"pengenes skyld. Hvis Figshare bare var der for pengene, ville de ikke bry "
"seg om å tilby en gratis versjon. Figshares prinsipper, og forsvar for "
"åpenhet, er en viktig faktor. Ser en fremover, mener  Mark at Figshare ikke "
"bare er en støtte for åpen tilgang til forskning, men at den gjør folk i "
"stand til å samarbeide og gjøre nye funn."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4849
msgid "Figure.NZ"
msgstr "Figure.NZ"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4852
msgid ""
"Figure.NZ is a nonprofit charity that makes an online data platform designed "
"to make data reusable and easy to understand.  Founded in 2012 in New "
"Zealand."
msgstr ""
"Figure.NZ er en veldedig bistandsorganisasjon som lager en nettbasert "
"dataplattform myntet på å gjøre data gjenbrukbar og enkel å forstå seg på."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4857
msgid "<ulink url=\"http://figure.nz\"/>"
msgstr "<ulink url=\"http://figure.nz\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4859
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: platform providing paid "
"services to creators, donations, sponsorships"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Plattform som tilbyr "
"betalte tjenester til skapere, bidragsytere, legatmidler"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4862
msgid "<emphasis role=\"strong\">Interview date</emphasis>: May 3, 2016"
msgstr "<emphasis role=\"strong\">Dato for intervju</emphasis>: 3. mai 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4864
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Lillian Grace, founder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Lillian Grace, grunnlegger"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4873
msgid ""
"<ulink url=\"http://www.nzdatafutures.org.nz/sites/default/files/"
"NZDFF_harness-the-power.pdf\"/>"
msgstr ""
"<ulink url=\"http://www.nzdatafutures.org.nz/sites/default/files/"
"NZDFF_harness-the-power.pdf\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4872
msgid ""
"In the paper Harnessing the Economic and Social Power of Data presented at "
"the New Zealand Data Futures Forum in 2014,<placeholder type=\"footnote\" id="
"\"0\"/> Figure.NZ founder Lillian Grace said there are thousands of valuable "
"and relevant data sets freely available to us right now, but most people "
"don’t use them. She used to think this meant people didn’t care about being "
"informed, but she’s come to see that she was wrong. Almost everyone wants to "
"be informed about issues that matter—not only to them, but also to their "
"families, their communities, their businesses, and their country.  But "
"there’s a big difference between availability and accessibility of "
"information. Data is spread across thousands of sites and is held within "
"databases and spreadsheets that require both time and skill to engage with. "
"To use data when making a decision, you have to know what specific question "
"to ask, identify a source that has collected the data, and manipulate "
"complex tools to extract and visualize the information within the data set.  "
"Lillian established Figure.NZ to make data truly accessible to all, with a "
"specific focus on New Zealand."
msgstr ""
"I forskningsartikkelen «Harnessing the Economic and Social Power of Data», "
"presentert på New Zealand Data Futures Forum i 2014,<placeholder type="
"\"footnote\" id=\"0\"/> sa Figure.NZ sin grunnlegger Lillian Grace at det "
"er  tusenvis av verdifulle og relevante datasett fritt tilgjengelige for oss "
"akkurat nå, men de fleste bruker dem ikke.  Hun tenkte gjerne at dette "
"betydde at folk ikke bryr seg om å være informert, men etter hvert har hun "
"kommet til at hun tok feil. Nesten alle ønsker å bli informert om saker som "
"betyr noe – ikke bare for dem, men også for deres familier, deres "
"lokalsamfunn, deres  virksomheter og landet deres. Men det er stor forskjell "
"mellom tilgangen og tilgjengeligheten på informasjon. Data er spredt over "
"tusenvis av nettsteder, og ligger i databaser og regneark som det krever "
"både tid og dyktighet å sette seg inn i. For å bruke data når det skal tas "
"en beslutning, må du vite hvilket spesifikt spørsmål du skal stille, "
"identifisere en kilde som har samlet inn dataene, og håndtere komplekse "
"verktøy for å trekke ut og vise frem informasjonen i datasettet. Lillian "
"etablerte Figure.NZ for å gjøre data virkelig tilgjengelig for alle, med "
"spesielt fokus på New Zealand."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4891
msgid ""
"Lillian had the idea for Figure.NZ in February 2012 while working for the "
"New Zealand Institute, a think tank concerned with improving economic "
"prosperity, social well-being, environmental quality, and environmental "
"productivity for New Zealand and New Zealanders. While giving talks to "
"community and business groups, Lillian realized “every single issue we "
"addressed would have been easier to deal with if more people understood the "
"basic facts.” But understanding the basic facts sometimes requires data and "
"research that you often have to pay for."
msgstr ""
"Lillian fikk ideen til Figure.NZ i februar 2012 mens hun jobbet for New "
"Zealand Institute, en tenketank som var opptatt av bedret økonomisk "
"velstand, sosial velferd, miljøkvaliteten og produktivitet for New Zealand "
"og for nyzealendere. Når hun holdt foredrag i lokalsamfunn og for "
"næringsdrivende, innså Lillian «hvert eneste problem vi behandlet ville vært "
"lettere å håndtere hvis flere hadde forstått de grunnleggende fakta». Men "
"for å kunne forstå grunnleggende fakta kreves noen ganger data og forskning "
"du ofte må betale for."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4902
msgid ""
"Lillian began to imagine a website that lifted data up to a visual form that "
"could be easily understood and freely accessed.  Initially launched as Wiki "
"New Zealand, the original idea was that people could contribute their data "
"and visuals via a wiki.  However, few people had graphs that could be used "
"and shared, and there were no standards or consistency around the data and "
"the visuals. Realizing the wiki model wasn’t working, Lillian brought the "
"process of data aggregation, curation, and visual presentation in-house, and "
"invested in the technology to help automate some of it. Wiki New Zealand "
"became Figure.NZ, and efforts were reoriented toward providing services to "
"those wanting to open their data and present it visually."
msgstr ""
"Lillian begynte å forestille seg  et nettsted som løftet frem data til "
"visuell form som kunne lett forstås, og som var fritt tilgjengelig. Det ble "
"innledningsvis lansert som Wiki New Zealand, da den opprinnelige ideen var "
"at folk kunne bidra med sine data og bilder via en wiki. Men få personer "
"hadde grafer som kunne brukes og deles, og det var ingen standarder eller "
"sammenheng mellom dataene og det visuelle. Da Lillian innså at wiki-modellen "
"ikke fungerte, tok hun prosessen med data aggregering, konservering og "
"visuell presentasjon hjem, og investerte i teknologien for å automatisere "
"noe av det. Wiki New Zealand ble Figure.NZ, og innsatsen ble snudd mot å gi "
"tjenester til dem som ønsker å åpne sine data, og presentere dem visuelt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4916
msgid ""
"Here’s how it works. Figure.NZ sources data from other organizations, "
"including corporations, public repositories, government departments, and "
"academics. Figure.NZ imports and extracts that data, and then validates and "
"standardizes it—all with a strong eye on what will be best for users. They "
"then make the data available in a series of standardized forms, both human- "
"and machine-readable, with rich metadata about the sources, the licenses, "
"and data types. Figure.NZ has a chart-designing tool that makes simple bar, "
"line, and area graphs from any data source.  The graphs are posted to the "
"Figure.NZ website, and they can also be exported in a variety of formats for "
"print or online use.  Figure.NZ makes its data and graphs available using "
"the Attribution (CC BY) license. This allows others to reuse, revise, remix, "
"and redistribute Figure.NZ data and graphs as long as they give attribution "
"to the original source and to Figure.NZ."
msgstr ""
"Hvordan fungerer det? Figure.NZ datakilder fra andre organisasjoner, "
"inkludert bedrifter, offentlige dataarkiv, etater og akademikere. Figure.NZ "
"importerer og ekstraherer data, og deretter validerer og standardiserer det "
"– med et klart øye for hva som vil være best for brukere. Deretter gjør de "
"data tilgjengelige med en rekke standardiserte skjemaer, lesbare både for "
"mennesker og maskiner, og med innholdsinformasjon om kildene, lisensene og "
"typer data. Figure.NZ har et diagramdesignverktøy som lager enkel strek-, "
"linje-, og område-grafikk fra en hvilken som helst datakilde. Grafene "
"posteres til Figure.NZ sitt nettområde, og de kan også eksporteres i en "
"rekke formater for utskrift eller til Internett-bruk. Figure.NZ gjør sine "
"data og grafer tilgjengelige med Attribution (CC BY) lisenser. Dette gjør at "
"andre kan bruke, endre, remikse og distribuere Figure.NZ-data og -grafer så "
"lenge de henviser til den opprinnelige kilden og Figure.NZ."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4942
msgid ""
"<ulink url=\"http://www.ict.govt.nz/guidance-and-resources/open-government/"
"new-zealand-government-open-access-and-licensing-nzgoal-framework/\"/>"
msgstr ""
"<ulink url=\"http://www.ict.govt.nz/guidance-and-resources/open-government/"
"new-zealand-government-open-access-and-licensing-nzgoal-framework/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4933
msgid ""
"Lillian characterizes the initial decision to use Creative Commons as "
"naively fortunate. It was first recommended to her by a colleague. Lillian "
"spent time looking at what Creative Commons offered and thought it looked "
"good, was clear, and made common sense. It was easy to use and easy for "
"others to understand. Over time, she’s come to realize just how fortunate "
"and important that decision turned out to be. New Zealand’s government has "
"an open-access and licensing framework called NZGOAL, which provides "
"guidance for agencies when they release copyrighted and noncopyrighted work "
"and material.<placeholder type=\"footnote\" id=\"0\"/> It aims to "
"standardize the licensing of works with government copyright and how they "
"can be reused, and it does this with Creative Commons licenses. As a result, "
"98 percent of all government-agency data is Creative Commons licensed, "
"fitting in nicely with Figure.NZ’s decision."
msgstr ""
"Lillian karakteriserer avgjørelsen om å bruke Creative Commons som et naivt "
"hell. Det ble først anbefalt henne av en kollega. Lillian brukte tid til å "
"se på hva Creative Commons tilbyr, og syntes det så bra ut, var klart, og "
"appellerte til sunn fornuft. Det var lett å bruke, og enkelt for andre å "
"forstå. Over tid har hun innsett hvor heldig og viktig denne beslutningen "
"viste seg å bli. New Zealands regjeringen har en åpen tilgang og et "
"lisensieringsrammeverk kalt NZGOAL, som gir veiledning for etater og organer "
"når de legger ut opphavsrettsbeskyttet og ikke-opphavsrettsbeskyttet arbeid "
"og materiale.<placeholder type=\"footnote\" id=\"0\"/> Målet er å "
"standardisere lisensiering av arbeid regjeringen har opphavsrett til, og "
"hvordan det kan gjenbrukes igjen, og det gjør den med Creative Commons-"
"lisenser. Som et resultat er 98 prosent av alle forvaltningsorganers data "
"Creative Commons-lisensiert, noe som passer fint til Figure.NZs beslutning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4949
msgid ""
"Lillian thinks current ideas of what a business is are relatively new, only "
"a hundred years old or so. She’s convinced that twenty years from now, we "
"will see new and different models for business.  Figure.NZ is set up as a "
"nonprofit charity. It is purpose-driven but also strives to pay people well "
"and thinks like a business.  Lillian sees the charity-nonprofit status as an "
"essential element for the mission and purpose of Figure.NZ. She believes "
"Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s "
"nonprofit status assures people who have data and people who want to use it "
"that they can rely on Figure.NZ’s motives. People see them as a trusted "
"wrangler and source."
msgstr ""
"Lillian mener gjeldende ideer om hva som er en bedrift er relativt nye, bare "
"hundre år eller så. Hun er overbevist om at 20 år fra nå, vil vi se nye og "
"ulike modeller for forretningsforetak. Figure.NZ er definert som en veldedig "
"stiftelse. Den er formålsdrevet, men bestreber seg også å betale folk godt, "
"og tenke som en bedrift. Lillian ser veldedig status som grunnleggende "
"forutsetning for hensikten og formålet med Figure.NZ. Hun tror Wikipedia "
"ikke ville fungert hvis det skulle drives for fortjenesten, og tilsvarende, "
"Figure.NZs ideelle status sikrer at folk som har data, og folk som ønsker å "
"bruke dem, at de kan stole på motivene til Figure.NZ. Folk ser dem som "
"vokter og pålitelig kilde."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4962
msgid ""
"Although Figure.NZ is a social enterprise that openly licenses their data "
"and graphs for everyone to use for free, they have taken care not to be "
"perceived as a free service all around the table. Lillian believes hundreds "
"of millions of dollars are spent by the government and organizations to "
"collect data. However, very little money is spent on taking that data and "
"making it accessible, understandable, and useful for decision making.  "
"Government uses some of the data for policy, but Lillian believes that it is "
"underutilized and the potential value is much larger.  Figure.NZ is focused "
"on solving that problem. They believe a portion of money allocated to "
"collecting data should go into making sure that data is useful and generates "
"value. If the government wants citizens to understand why certain decisions "
"are being made and to be more aware about what the government is doing, why "
"not transform the data it collects into easily understood visuals? It could "
"even become a way for a government or any organization to differentiate, "
"market, and brand itself."
msgstr ""
"Selv om Figure.NZ er en sosial geskjeft hvis data og diagrammer er "
"lisensiert gratis i allmennhetens tjeneste, har de gjort seg flid i å ikke "
"bli ansett som en gratistjeneste viden rundt. Lillian tror hundrevis av "
"millioner dollar brukes av myndigheter og organisasjoner for å samle data. "
"Imidlertid blir veldig lite penger brukt på å gjøre den tilgjengelig, "
"forståelig og nyttig i beslutningsøyemed. Myndigheter bruker noe av dataen "
"for å forme praksis, Lillian tror dog om dette at det er nyttet i for liten "
"grad, og at den potensielle verdien er mye høyere. Figure.NZ fokuserer på å "
"løse dette problemet. De tror at en andel av pengene avsatt til innsamling "
"av data, bør gå til det formål å gjøre den nyttig og verdiskapende. Hvis "
"myndighetene ønsker borgernes forståelse for hvorfor gitte beslutninger tas, "
"og bli mer oppmerksomme på hva de driver med, hvorfor ikke forvandle "
"innsamlet data til forståelig grafikk? Det kan sågar være en måte for "
"myndighetene, eller enhver organisasjon, å finne sin posisjon i markedet, "
"gjøre seg forskjellig, og knytte sin merkevare til det hele."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4981
msgid ""
"Figure.NZ spends a lot of time seeking to understand the motivations of data "
"collectors and to identify the channels where it can provide value. Every "
"part of their business model has been focused on who is going to get value "
"from the data and visuals."
msgstr ""
"Figure.NZ bruker mye tid på å forsøke å forstå motivasjonen til de som "
"samler inn data, og for å identifisere kanalene der de kan gi verdi.  Hver "
"eneste del av forretningsmodellen har vært fokusert på hvem som kommer til å "
"få verdi fra dataene og de visuelle fremstillingene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4987
msgid ""
"Figure.NZ has multiple lines of business. They provide commercial services "
"to organizations that want their data publicly available and want to use "
"Figure.NZ as their publishing platform. People who want to publish open data "
"appreciate Figure.NZ’s ability to do it faster, more easily, and better than "
"they can. Customers are encouraged to help their users find, use, and make "
"things from the data they make available on Figure.NZ’s website. Customers "
"control what is released and the license terms (although Figure.NZ "
"encourages Creative Commons licensing). Figure.NZ also serves customers who "
"want a specific collection of charts created—for example, for their website "
"or annual report. Charging the organizations that want to make their data "
"available enables Figure.NZ to provide their site free to all users, to "
"truly democratize data."
msgstr ""
"Økonomisk sett arbeider Figure.NZ flere veier. De gir kommersielle tjenester "
"til organisasjoner som vil gjøre sine data tilgjengelige offentlig, ved bruk "
"av Figure.NZ som publiseringsplattform. Folk som ønsker å publisere åpent, "
"setter pris på Figure.NZs evne til å gjøre det raskere, enklere, og bedre "
"enn de kan selv. Kunder oppfordres til å hjelpe sine brukere med å  finne, "
"bruke og gjøre ting med dataene some tilgjengeliggjøres på Figure.NZs "
"nettsted. Kundene kontrollerer hva som blir lagt ut, og lisensbetingelsene "
"(selv om Figure.NZ anbefaler Creative Commons-lisensen). Figure.NZ betjener "
"også brukere som ønsker at en bestemt ansamling diagrammer, for eksempel til "
"deres hjemmeside eller årsrapport. Å ta betaling av organisasjoner som vil "
"gjøre sine data tilgjengelige, gjør det mulig for Figure.NZ å gjøre sitt "
"nettsted gratis for alle brukere, og virkelig demokratisere data."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5003
msgid ""
"Lillian notes that the current state of most data is terrible and often not "
"well understood by the people who have it. This sometimes makes it difficult "
"for customers and Figure.NZ to figure out what it would cost to import, "
"standardize, and display that data in a useful way. To deal with this, "
"Figure.NZ uses “high-trust contracts,” where customers allocate a certain "
"budget to the task that Figure.NZ is then free to draw from, as long as "
"Figure.NZ frequently reports on what they’ve produced so the customer can "
"determine the value for money. This strategy has helped build trust and "
"transparency about the level of effort associated with doing work that has "
"never been done before."
msgstr ""
"Lillian gjør seg den merknaden at tilstanden på det meste av data er lite å "
"se til, og ikke godt forstått av dem som har dem. Dette gjør det noen ganger "
"vanskelig for kunder og Figure.NZ å skjønne hva det koster å importere, "
"standardisere og vise dataen på en formålstjenlig måte. For å hanskes med "
"dette bruker Figure.NZ «høytillitskontrakter», der kunder avser en viss del "
"av budsjettet sitt til oppgaven som Figure.NZ så fritt disponerer, så lenge "
"de rapporterer flittig om hva de har produsert, slik at kunden ser "
"nytteverdien. Strategien har hjulpet til med å bygge tillit og åpenhet om "
"hvilke ressurser som må til for å gjennomføre arbeid som aldri har blitt "
"gjort før."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5021
msgid "<ulink url=\"http://figure.nz/business/\"/>"
msgstr "<ulink url=\"http://figure.nz/business/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5016
msgid ""
"A second line of business is what Figure.NZ calls partners. ASB Bank and "
"Statistics New Zealand are partners who back Figure.NZ’s efforts. As one "
"example, with their support Figure.NZ has been able to create Business "
"Figures, a special way for businesses to find useful data without having to "
"know what questions to ask.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"En annen forretningsvei Figure.NZ  er det Figure.NZ kaller «partnere». ASB "
"BANK og Statistics New Zealand er partnere som støtter Figure.NZ i sitt "
"foretagende. Som ett eksempel kan det nevnes at deres støtte har gjort "
"Figure.NZ i stand til å opprette Business Figures, en spesiell måte for "
"forretninger å finne nyttig data uten å måtte vite hvilke spørsmål de skal "
"stille.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5024
msgid "<ulink url=\"http://figure.nz/patrons/\"/>"
msgstr "<ulink url=\"http://figure.nz/patrons/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5024
msgid ""
"Figure.NZ also has patrons.<placeholder type=\"footnote\" id=\"0\"/> Patrons "
"donate to topic areas they care about, directly enabling Figure.NZ to get "
"data together to flesh out those areas. Patrons do not direct what data is "
"included or excluded."
msgstr ""
"Figure.NZ har også faste bidragsytere.<placeholder type=\"footnote\" id="
"\"0\"/>  De donerer til formål de bryr seg om, noe som gjør Figure.NZ "
"direkte i stand til å samle data på akkurat disse områdene. Givere har ikke "
"innvirkning på hva som tas med eller ekskluderes."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5030
msgid ""
"Figure.NZ also accepts philanthropic donations, which are used to provide "
"more content, extend technology, and improve services, or are targeted to "
"fund a specific effort or provide in-kind support.  As a charity, donations "
"are tax deductible."
msgstr ""
"Figure.NZ godtar også filantropiske donasjoner, som brukes til å tilby mer "
"innhold, gjøre mer bruk av teknologi, forbedre tjenester, eller hvis mål er "
"å byttehandle støttefunksjoner. Som en veldedig operasjon, er donasjoner "
"skattefritatt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5036
msgid ""
"Figure.NZ has morphed and grown over time. With data aggregation, curation, "
"and visualizing services all in-house, Figure.NZ has developed a deep "
"expertise in taking random styles of data, standardizing it, and making it "
"useful. Lillian realized that Figure.NZ could easily become a warehouse of "
"seventy people doing data. But for Lillian, growth isn’t always good. In her "
"view, bigger often means less effective. Lillian set artificial constraints "
"on growth, forcing the organization to think differently and be more "
"efficient. Rather than in-house growth, they are growing and building "
"external relationships."
msgstr ""
"Figure.NZ har fått ny form og størrelse med tiden. Med datainnsamling og "
"utrenskning av data, i visuell tjeneste, alt innomhus, har man utviklet "
"dyptgående ekspertise i å standardisere tilfeldige datastiler, for å gjøre "
"dem nyttige. Lillian skjønte at Figure.NZ enkelt kunne bli et varehus for "
"sytti mennesker som gjør data. Hun synes vekst ikke nødvendigvis er bra. "
"Størrelse går ofte ut over effektivitet. Lillian setter  kunstige "
"begrensninger for vekst, tvinger organisasjonen til å tenke annerledes, og "
"bli mer effektiv. Snarere enn vekst innomhus, vokser de og bygger opp "
"eksterne tilknytninger."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5048
msgid ""
"Figure.NZ’s website displays visuals and data associated with a wide range "
"of categories including crime, economy, education, employment, energy, "
"environment, health, information and communications technology, industry, "
"tourism, and many others. A search function helps users find tables and "
"graphs. Figure.NZ does not provide analysis or interpretation of the data or "
"visuals.  Their goal is to teach people how to think, not think for them.  "
"Figure.NZ wants to create intuitive experiences, not user manuals."
msgstr ""
"Nettsiden til Figure.NZ viser grafikk og data fra en rekke kategorier, "
"inkludert kriminalitet, økonomi, utdanning, sysselsetting, energi, miljø, "
"helse, informasjon og kommunikasjonsteknologi, industri, turisme og mange "
"andre. En søkefunksjon hjelper brukere å finne tabeller og grafer. Figure.NZ "
"utøver ikke analyse eller tolkning av data eller bilder. Deres mål er å lære "
"folk å tenke, ikke å tenke for dem. Figure.NZ ønsker å skape intuitive "
"opplevelser, ikke brukermanualer."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5058
msgid ""
"Figure.NZ believes data and visuals should be useful. They provide their "
"customers with a data collection template and teach them why it’s important "
"and how to use it. They’ve begun putting more emphasis on tracking what "
"users of their website want. They also get requests from social media and "
"through email for them to share data for a specific topic—for example, can "
"you share data for water quality? If they have the data, they respond "
"quickly; if they don’t, they try and identify the organizations that would "
"have that data and forge a relationship so they can be included on Figure."
"NZ’s site. Overall, Figure.NZ is seeking to provide a place for people to be "
"curious about, access, and interpret data on topics they are interested in."
msgstr ""
"Figure.NZ mener at data og bilder skal være nyttige. De gir sine kunder en "
"mal for samling av data, og lærer dem hvorfor det er viktig, og hvordan den "
"brukes. De har begynt å legge mer vekt på å spore hva brukerne av deres "
"nettsted vil. De får også forespørsler fra sosiale medier og via e-post om å "
"dele data om et bestemt emne, for eksempel «kan du dele dataene for "
"vannkvalitet»? Hvis de har data, reagerer de raskt; hvis ikke, prøver de å "
"identifisere organisasjonene som kan ha dem, og bygger en bro slik at "
"dataene kan legges inn på Figure.NZ sitt nettsted. Samlet sett søker Figure."
"NZ å være et sted for folk der de kan være nysgjerrige, og ha tilgang til å "
"tolke data om emnene de er interessert i."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5072
msgid ""
"Lillian has a deep and profound vision for Figure.NZ that goes well beyond "
"simply providing open-data services. She says things are different now. “We "
"used to live in a world where it was really hard to share information "
"widely. And in that world, the best future was created by having a few great "
"leaders who essentially had access to the information and made decisions on "
"behalf of others, whether it was on behalf of a country or companies."
msgstr ""
"Lillian har en dyp og kløktig visjon for Figure.NZ som langt overgår bare "
"det å sørge for åpne datatjenester. Hun sier ting er annerledes nå. «Vi "
"pleide å leve i en verden hvor det var veldig vanskelig å dele informasjon "
"vidt. I den verdenen lå de beste framtidsutsiktene i å ha store ledere som "
"ved å ha tilgang til informasjon kunne treffe beslutninger på vegne av "
"andre, om det så var på vegne av et land eller selskaper."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5081
msgid ""
"“But now we live in a world where it’s really easy to share information "
"widely and also to communicate widely. In the world we live in now, the best "
"future is the one where everyone can make well-informed decisions."
msgstr ""
"«Men nå lever vi i en verden der det er enkelt å dele informasjon og "
"kommunisere viden rundt. Fremtiden vi går i møte i den verdenen vi er i nå, "
"er best tjent med at alle kan ta gode beslutninger basert på god "
"informasjon»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5087
msgid ""
"“The use of numbers and data as a way of making well-informed decisions is "
"one of the areas where there is the biggest gaps. We don’t really use "
"numbers as a part of our thinking and part of our understanding yet."
msgstr ""
"«Bruk av tall og data til å fatte gode beslutninger basert på god "
"informasjon er et av områdene der manglene er størst. Vi bruker virkelig "
"ikke tall som en del av vår tenkning og forståelse ennå»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5093
msgid ""
"“Part of the reason is the way data is spread across hundreds of sites. In "
"addition, for the most part, deep thinking based on data is constrained to "
"experts because most people don’t have data literacy. There once was a time "
"when many citizens in society couldn’t read or write. However, as a society, "
"we’ve now come to believe that reading and writing skills should be "
"something all citizens have. We haven’t yet adopted a similar belief around "
"numbers and data literacy. We largely still believe that only a few "
"specially trained people can analyze and think with numbers."
msgstr ""
"«En del av årsaken er at dataene er spredt på hundrevis av steder. I "
"tillegg, for det meste, er dyp tenkning basert på data forbeholdt eksperter, "
"fordi folk flest ikke har dataferdigheter. Det var en gang en tid da mange "
"innbyggere i samfunnet ikke kunne lese eller skrive. Men som samfunn, er  vi "
"nå kommet dit hen at lese- og skriveferdigheter bør være allemannseie. Vi "
"har ennå ikke adoptert en lignende forutsetning for tall og ferdigheter "
"vedrørende data. Vi tror fortsatt at kun noen få spesialutdannede mennesker "
"kan analysere og tenke med tall»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5104
msgid ""
"“Figure.NZ may be the first organization to assert that everyone can use "
"numbers in their thinking, and it’s built a technological platform along "
"with trust and a network of relationships to make that possible. What you "
"can see on Figure.NZ are tens of thousands of graphs, maps, and data."
msgstr ""
"«Figure.NZ er muligens den første organisasjonen som hevder at alle kan "
"bruke tall i sin tenkning, og har bygget en teknologisk plattform på tillit "
"og et nettverk av relasjoner for muliggjøring av dette. Det som er å se på "
"Figure.NZ er titusenvis av grafer, kart og data»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5111
msgid ""
"“Figure.NZ sees this as a new kind of alphabet that can help people analyze "
"what they see around them. A way to be thoughtful and informed about "
"society. A means of engaging in conversation and shaping decision making "
"that transcends personal experience.  The long-term value and impact is "
"almost impossible to measure, but the goal is to help citizens gain "
"understanding and work together in more informed ways to shape the future.”"
msgstr ""
"«Figure.NZ ser dette som et slags nytt alfabet som kan hjelpe folk å "
"analysere det de ser rundt seg. En måte å reflektere omkring "
"samfunnsinformasjon. Et middel til å delta i samtaler som former "
"beslutningsprosesser som overskrider den personlige erfaringen. Den "
"langsiktige verdien og effekten lar seg vanskelig måle, men målet er å "
"hjelpe borgeres forståelse og samarbeid på mer opplyste måter for å forme "
"fremtiden»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5120
msgid ""
"Lillian sees Figure.NZ’s model as having global potential. But for now, "
"their focus is completely on making Figure.NZ work in New Zealand and to get "
"the “network effect”— users dramatically increasing value for themselves and "
"for others through use of their service. Creative Commons is core to making "
"the network effect possible."
msgstr ""
"Lillian ser Figure.NZs modell i lys av å ha et globalt potensiale. Uansett "
"er deres fokus nå fullt ut utførelsen av Figure.NZs arbeid i New Zealand, og "
"realiseringen av «nettverkseffekten» – at brukere dramatisk øker egen og "
"andres nytteverdi ved bruk av tjenesten. Creative Commons er kjernen som "
"gjør denne nettverkseffekten mulig."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5129
msgid "Knowledge Unlatched"
msgstr "Knowledge Unlatched"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5132
msgid ""
"Knowledge Unlatched is a not-for-profit community interest company that "
"brings libraries together to pool funds to publish open-access books. "
"Founded in 2012 in the UK."
msgstr ""
"Knowledge Unlatched er et veldedig samfunnsinteresseselskap som bringer "
"biblioteker sammen for å finansiere utgivelser av bøker med åpen tilgang.  "
"Grunnlagt 2012 i Storbritannia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5137
msgid "<ulink url=\"http://knowledgeunlatched.org\"/>"
msgstr "<ulink url=\"http://knowledgeunlatched.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5139
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
"(specialized)"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Folkefinansiering "
"(spesialisert)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5142
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 26, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 26. februar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5145
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Frances Pinter, founder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Frances Pinter, grunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5153
msgid ""
"The serial entrepreneur Dr. Frances Pinter has been at the forefront of "
"innovation in the publishing industry for nearly forty years. She founded "
"the UK-based Knowledge Unlatched with a mission to enable open access to "
"scholarly books. For Frances, the current scholarly- book-publishing system "
"is not working for anyone, and especially not for monographs in the "
"humanities and social sciences. Knowledge Unlatched is committed to changing "
"this and has been working with libraries to create a sustainable alternative "
"model for publishing scholarly books, sharing the cost of making monographs "
"(released under a Creative Commons license)  and savings costs over the long "
"term. Since its launch, Knowledge Unlatched has received several awards, "
"including the IFLA/Brill Open Access award in 2014 and a Curtin University "
"Commercial Innovation Award for Innovation in Education in 2015."
msgstr ""
"Seriegrunnlegger dr. Frances Pinter har vært i forkant av innovasjon i "
"forlagsbransjen i nesten førti år. Hun grunnla det UK-baserte Knowledge "
"Unlatched med oppgaven å gi åpen tilgang til vitenskapelige bøker. For "
"Frances fungerer ikke dagens system for vitenskapelige bokpubliseringssystem "
"for alle, og spesielt ikke for monografier i humaniora og samfunnsvitenskap. "
"Knowledge Unlatched har forpliktet seg til å endre dette, og har arbeidet "
"sammen med biblioteker for å skape en bærekraftig alternativ modell for "
"publisering av vitenskapelige bøker, deling av kostnadene for monografier "
"(utgitt under en Creative Commons-lisens) og, på lang sikt, spare kostnader. "
"Siden lanseringen, har Knowledge Unlatched mottatt flere priser, inkludert "
"IFLA/Brill Open Access-prisen for 2014, og  en Curtin University Commersial "
"Innovation Award-pris for innovasjon i utdanning i 2015."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5169
msgid ""
"Dr. Pinter has been in academic publishing most of her career.  About ten "
"years ago, she became acquainted with the Creative Commons founder Lawrence "
"Lessig and got interested in Creative Commons as a tool for both protecting "
"content online and distributing it free to users."
msgstr ""
"Dr. Pinter har vært i akademiske publisering mestedelen av sin karriere. "
"Omtrent for ti år siden ble hun kjent med Creative Commons grunnlegger "
"Lawrence Lessig, og ble interessert i Creative Commons som et verktøy for "
"både å beskytte innhold på nettet, og fordele det gratis for brukere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5176
msgid ""
"Not long after, she ran a project in Africa convincing publishers in Uganda "
"and South Africa to put some of their content online for free using a "
"Creative Commons license and to see what happened to print sales. Sales went "
"up, not down."
msgstr ""
"Ikke lenge etter drev hun et prosjekt i Afrika som overbeviste utgivere i "
"Uganda og Sør-Afrika om å legge noe av innholdet sitt på nettet gratis med "
"en Creative Commons-lisens, for å se hva som skjedde. Salget gikk opp, ikke "
"ned."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5182
msgid ""
"In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the "
"United Kingdom, appointed her its founding publisher in London. As part of "
"the launch, Frances convinced Bloomsbury to differentiate themselves by "
"putting out monographs for free online under a Creative Commons license (BY-"
"NC or BY-NC-ND, i.e., Attribution-NonCommercial or Attribution-NonCommercial-"
"NoDerivs). This was seen as risky, as the biggest cost for publishers is "
"getting a book to the stage where it can be printed. If everyone read the "
"online book for free, there would be no print-book sales at all, and the "
"costs associated with getting the book to print would be lost.  "
"Surprisingly, Bloomsbury found that sales of the print versions of these "
"books were 10 to 20 percent higher than normal. Frances found it intriguing "
"that the Creative Commons–licensed free online book acts as a marketing "
"vehicle for the print format."
msgstr ""
"I 2008 valgte Bloomsbury Academic, et nytt forlag under Bloomsbury "
"Publishing i Storbritannia, å la henne til å stå for oppstarten av dette "
"forlaget i London. Som en del av lanseringen overbeviste Frances Bloomsbury "
"om å differensiere ved å legge ut monografier gratis på nettet med en "
"Creative Commons-lisens (BY-NC eller BY-NC-ND, dvs. Attribution-"
"NonComskrevetmercial eller Attribution-NonCommercial-NoDerivs). Dette ble "
"sett på som risikabelt, ettersom den største kostnaden for utgivere er å få "
"en bok  frem til trykningsstadiet. Hvis alle kunne lese den elektroniske "
"boken gratis, ville det ikke være salg av trykte bøker i det hele, og "
"kostnadene forbundet med å få boken trykket går tapt. Overraskende nok fant "
"Bloomsbury at salg av trykte versjoner av disse bøkene var 10 til 20 prosent "
"høyere enn normalt.  Frances fant det interessant at den gratis Creative "
"Commons-lisensierte boken på nettet fungerer som et markedsføringsredskap "
"for det trykte formatet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5199
msgid ""
"Frances began to look at customer interest in the three forms of the book: "
"1) the Creative Commons–licensed free online book in PDF form, 2) the "
"printed book, and 3) a digital version of the book on an aggregator platform "
"with enhanced features. She thought of this as the “ice cream model”: the "
"free PDF was vanilla ice cream, the printed book was an ice cream cone, and "
"the enhanced e-book was an ice cream sundae."
msgstr ""
"Frances begynte å se på kundens interesse i tre former av boken: 1) Creative "
"Commons-lisensierte gratis online-bok i PDF-skjemaet, 2) den trykte boken, "
"og 3) en digital versjon av boken på en aggregator-plattform med forbedrede "
"funksjoner. Hun tenkte på dette som «iskrem model»: gratis PDF var "
"vaniljeis, den trykte boken var en iskrem, og den forbedrede e-boken var en "
"iskrem sundae."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5208
msgid ""
"After a while, Frances had an epiphany—what if there was a way to get "
"libraries to underwrite the costs of making these books up until they’re "
"ready be printed, in other words, cover the fixed costs of getting to the "
"first digital copy? Then you could either bring down the cost of the printed "
"book, or do a whole bunch of interesting things with the printed book and e-"
"book—the ice cream cone or sundae part of the model."
msgstr ""
"Etter en stund, hadde Frances en åpenbaring: Hva hvis det var en måte å få "
"biblioteker til å garantere for kostnadene ved å gjøre disse bøkene "
"trykningsklare, altså dekke faste kostnader for å få frem den første "
"digitale kopien? Så kan man enten få ned kostnadene for den trykte boken, "
"eller gjøre en hel haug med interessante ting med den trykte boken og e-"
"boken - kjeksisen eller iskuler med pynt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5217
msgid ""
"This idea is similar to the article-processing charge some open-access "
"journals charge researchers to cover publishing costs.  Frances began to "
"imagine a coalition of libraries paying for the prepress costs—a “book-"
"processing charge”—and providing everyone in the world with an open-access "
"version of the books released under a Creative Commons license."
msgstr ""
"Denne ideen likner betalingen for artikkelbehandlingen som tidsskifter med "
"åpen tilgang krever av forskere for å dekke publiseringskostnadene. Frances "
"begynte å tenke på en koalisjon av biblioteker som betalte kostnadene frem "
"til trykking – en «bok-prosessavgift» – og gi alle i verden en åpen tilgangs-"
"versjon av bøker utgitt med en Creative Commons-lisens."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5225
msgid ""
"This idea really took hold in her mind. She didn’t really have a name for it "
"but began talking about it and making presentations to see if there was "
"interest. The more she talked about it, the more people agreed it had "
"appeal. She offered a bottle of champagne to anyone who could come up with a "
"good name for the idea. Her husband came up with Knowledge Unlatched, and "
"after two years of generating interest, she decided to move forward and "
"launch a community interest company (a UK term for not-for-profit social "
"enterprises) in 2012."
msgstr ""
"Denne ideen tok virkelig tak i henne. Hun hadde egentlig ikke et navn for "
"det, men begynte å snakke om det, og lage presentasjoner for å se om det var "
"noe interesse. Jo mer hun snakket om det, jo mer ble folk enige om at det "
"hadde appell. Hun tilbød en flaske champagne for alle som kunne komme opp "
"med et godt navn for ideen. Hennes mann kom opp med Knowledge Unlatched, og "
"etter to år for å opparbeide interesse, besluttet hun å gå videre og starte "
"et «community interest company» (et engelsk begrep for non-profit "
"samfunnsforetak) i 2012."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5236
msgid ""
"She describes the business model in a paper called Knowledge Unlatched: "
"Toward an Open and Networked Future for Academic Publishing:"
msgstr ""
"Hun beskriver forretningsmodellen i en artikkel med tittel Knowledge "
"Unlatched: Toward an Open and Networked Future for Academic Publishing:"

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5243
msgid ""
"Publishers offer titles for sale reflecting origination costs only via "
"Knowledge Unlatched."
msgstr ""
"Utgivere tilbyr utgivelser for salg som avspeiler opprinnelige kostnader "
"bare via Knowlegde Unlatched."

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5249
msgid ""
"Individual libraries select titles either as individual titles or as "
"collections (as they do from library suppliers now)."
msgstr ""
"Frittstående bibliotek velger titler enten som individuelle titler eller som "
"samlinger (slik de gjør fra bibliotekleverandører i dag)."

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5255
msgid ""
"Their selections are sent to Knowledge Unlatched specifying the titles to be "
"purchased at the stated price(s)."
msgstr ""
"Utvalgene deres blir sendt til Knowledge Unlatched der de titlene som kan "
"kjøpes spesifiseres og prisene angis."

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5261
msgid ""
"The price, called a Title Fee (set by publishers and negotiated by Knowledge "
"Unlatched), is paid to publishers to cover the fixed costs of publishing "
"each of the titles that were selected by a minimum number of libraries to "
"cover the Title Fee."
msgstr ""
"Prisen, kalt Title Fee (satt av utgivere og forhandlet frem av Knowlegde "
"Unlatched), betales til utgivere for å dekke faste kostnader for å publisere "
"hver av titlene som ble valgt av et minimumsantall biblioteker for å få "
"dekket Title Fee-gebyret."

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5270
msgid ""
"Publishers make the selected titles available Open Access (on a Creative "
"Commons or similar open license) and are then paid the Title Fee which is "
"the total collected from the libraries."
msgstr ""
"Forlagene gjør de utvalgte titler tilgjengelige med Open Access (med en åpen "
"lisens som Creative Commons eller lignende), og får så utbetalt Title Fee-"
"beløpet som er den summen som er innbetalt fra bibliotekene."

#. type: Content of: <book><part><chapter><orderedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5280
msgid "<ulink url=\"http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf\"/>"
msgstr "<ulink url=\"http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf\"/>"

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5277
msgid ""
"Publishers make print copies, e-Pub, and other digital versions of selected "
"titles available to member libraries at a discount that reflects their "
"contribution to the Title Fee and incentivizes membership.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"Forlag gjør  trykte bøker, e-Pub og andre digitale versjoner av valgte "
"titler tilgjengelig for medlemsbiblioteker til rabattert pris, noe som "
"avspeiler deres bidrag til Title Fee, og ansporer til medlemskap."
"<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5285
msgid ""
"The first round of this model resulted in a collection of twenty-eight "
"current titles from thirteen recognized scholarly publishers being "
"unlatched. The target was to have two hundred libraries participate. The "
"cost of the package per library was capped at $1,680, which was an average "
"price of sixty dollars per book, but in the end they had nearly three "
"hundred libraries sharing the costs, and the price per book came in at just "
"under forty-three dollars."
msgstr ""
"Første runde av denne modellen resulterte i en samling på 28 gjeldende "
"titler fra tretten anerkjente vitenskapelige forlag. Målet var å få med to "
"hundre bibliotek i samarbeidet. Kostnaden av pakken pr. bibliotek hadde et "
"øvre tak på 1680 amerikanske dollar, som er en gjennomsnittspris på 60 "
"dollar pr. bok, men til slutt var det nesten tre hundre bibliotek som delte "
"på utgiftene, og pr. bok kom de ned i under 43 dollar pr. bok."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5296
msgid ""
"<ulink url=\"http://collections.knowledgeunlatched.org/collection-"
"availability-1/\"/>"
msgstr ""
"<ulink url=\"http://collections.knowledgeunlatched.org/collection-"
"availability-1/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5295
msgid ""
"The open-access, Creative Commons versions of these twenty-eight books are "
"still available online.<placeholder type=\"footnote\" id=\"0\"/> Most books "
"have been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright "
"holder, not the publisher, and negotiate choice of license as part of the "
"publishing agreement.  Frances has found that most authors want to retain "
"control over the commercial and remix use of their work. Publishers list the "
"book in their catalogs, and the noncommercial restriction in the Creative "
"Commons license ensures authors continue to get royalties on sales of "
"physical copies."
msgstr ""
"Creative Commons-versjoner av alle 28 bøker er fremdeles fritt tilgjengelig "
"på nett.<placeholder type=\"footnote\" id=\"0\"/> De fleste bøker er "
"lisensiert med CC BY-NC eller CC BY-NC-ND. Forfatterne har kopiretten, ikke "
"forleggeren, og forhandler valg av lisens som del av publiseringsavtalen. "
"Frances har merket seg at de fleste forfattere ønsker å beholde kontroll "
"over kommersiell og videre bruk av deres arbeid. Forleggere lister opp "
"bøkene i sine kataloger, og tillegg av ikke-kommersiell begrensning i "
"Creative Commons-lisens betyr at forfatterne fortsetter å motta salær "
"(royalty) for salg av fysiske kopier."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5306
msgid ""
"There are three cost variables to consider for each round: the overall cost "
"incurred by the publishers, total cost for each library to acquire all the "
"books, and the individual price per book. The fee publishers charge for each "
"title is a fixed charge, and Knowledge Unlatched calculates the total amount "
"for all the books being unlatched at a time. The cost of an order for each "
"library is capped at a maximum based on a minimum number of libraries "
"participating. If the number of participating libraries exceeds the minimum, "
"then the cost of the order and the price per book go down for each library."
msgstr ""
"Det er tre kostnadsvariabler å ta høyde for i hver runde: Den sammenlagte "
"kostnaden pålagt av forleggerne, total kostnad for ervervelse av alle bøkene "
"for bibliotekene, og individuell pris pr. bok. Avgiften forleggerne tar for "
"hver tittel er fast, og Knowledge Unlatched  beregner totalbeløpet for alle "
"bøkene   samtidig. Kostnaden for én ordre for hvert bibliotek er satt «i "
"verste fall», basert på et minimum av deltagende biblioteker. Kostnaden "
"reduserer deretter for hvert ekstra bibliotek som deltar."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5318
msgid ""
"The second round, recently completed, unlatched seventy-eight books from "
"twenty-six publishers. For this round, Frances was experimenting with the "
"size and shape of the offerings. Books were being bundled into eight small "
"packages separated by subject (including Anthropology, History, Literature, "
"Media and Communications, and Politics), of around ten books per package.  "
"Three hundred libraries around the world have to commit to at least six of "
"the eight packages to enable unlatching. The average cost per book was just "
"under fifty dollars. The unlatching process took roughly ten months. It "
"started with a call to publishers for titles, followed by having a library "
"task force select the titles, getting authors’ permissions, getting the "
"libraries to pledge, billing the libraries, and finally, unlatching."
msgstr ""
"Den andre runden, som også har latt seg gjennomføre, unnfanget 78 bøker fra "
"26 forleggere. I denne runden eksperimenterte Frances med størrelsen og "
"formen på det som ble tilbudt. Bøker ble pakket i åtte pakker, delt inn pr. "
"emne (inkludert antropologi, historie, litteratur, media og kommunikasjon, "
"og politikk), på omkring 10 bøker pr. pakke. Tre hundre biblioteker verden "
"over må binde seg til unnfanging av minst seks av åtte pakker for at det "
"skulle bli noe av. Gjennomsnittskostnaden pr. bok var snaut 50 dollar. "
"Unnfangingsprosessen tok omtrent ti måneder. Det startet med en rekke "
"telefonsamtaler til forleggerne for å få rede på titler, dernest forming av "
"en ansvarsgruppe fra bibliotekhold for å velge titler, innhenting av "
"forfattersamtykke, avtaleskriving med bibliotekene, tilhørende fakturering, "
"og til sist, unnfanging."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5333
msgid ""
"The longest part of the whole process is getting libraries to pledge and "
"commit funds. It takes about five months, as library buy-in has to fit "
"within acquisition cycles, budget cycles, and library-committee meetings."
msgstr ""
"Mest langtrekkende var prosessen med å få bibliotekene til å love og å sende "
"avgårde midler. Det tar omkring fem måneder, da bibliotekets innkjøp må "
"passe inn i kjøpssykluser, budsjettrunder, og bibliotekkomiteers møter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5339
msgid ""
"Knowledge Unlatched informs and recruits libraries through social media, "
"mailing lists, listservs, and library associations. Of the three hundred "
"libraries that participated in the first round, 80 percent are also "
"participating in the second round, and there are an additional eighty new "
"libraries taking part. Knowledge Unlatched is also working not just with "
"individual libraries but also library consortia, which has been getting even "
"more libraries involved."
msgstr ""
"Knowledge Unlatched informerer og rekrutterer biblioteker på sosiale media, "
"e-postlister, listetjenere, og bibliotekforbund. Av de tre hundre "
"bibliotekene som deltok i første runde, fant 80 prosent av dem veien i runde "
"to, og det er anslagsvis 80 nye som deltar. Knowledge Unlatched arbeider "
"ikke bare med enkeltstående biblioteker, men også konsortier, noe som har "
"fått enda flere biblioteker med i laget."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5349
msgid ""
"Knowledge Unlatched is scaling up, offering 150 new titles in the second "
"half of 2016. It will also offer backlist titles, and in 2017 will start to "
"make journals open access too."
msgstr ""
"Knowledge Unlatched utvider tilbudet, til 150 nye titler i andre halvdel av "
"2016. Tidligere innlemmelser er også med, og i 2017 vil journaler komme til "
"også, med  fri tilgang på alt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5354
msgid ""
"Knowledge Unlatched deliberately chose monographs as the initial type of "
"book to unlatch. Monographs are foundational and important, but also "
"problematic to keep going in the standard closed publishing model."
msgstr ""
"De har aktivt valgt å unnfange monografier som første boktype. Monografier "
"er grunnleggende og viktige, men det er også vanskelig å fortsette i den "
"lukkede standard publiseringsmodellenen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5360
msgid ""
"The cost for the publisher to get to a first digital copy of a monograph is "
"$5,000 to $50,000. A good one costs in the $10,000 to $15,000 range. "
"Monographs typically don’t sell a lot of copies. A publisher who in the past "
"sold three thousand copies now typically sells only three hundred. That "
"makes unlatching monographs a low risk for publishers. For the first round, "
"it took five months to get thirteen publishers. For the second round, it "
"took one month to get twenty-six."
msgstr ""
"Kostnaden for utgiveren for ervervelse av første digitale kopi av en "
"monografi er mellom 5000 dollar til 50 000 dollar. En god monografi beløper "
"seg til mellom 10 000 til 15 000 dollar. Monografier selger vanligvis ikke "
"mange eksemplarer. Hvis tallene i tidligere tider var 3000, kan man som "
"motsats regne 300 i vår tid.  Det gjør unnfanging av monografier til "
"lavrisikosport for forleggere. I første runde tok det fem måneder å få med "
"13 av dem, i andre runde gikk det ikke mer enn en måned for å få  26."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5377
msgid ""
"<ulink url=\"http://www.knowledgeunlatched.org/featured-authors-section/\"/>"
msgstr ""
"<ulink url=\"http://www.knowledgeunlatched.org/featured-authors-section/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5370
msgid ""
"Authors don’t generally make a lot of royalties from monographs.  Royalties "
"range from zero dollars to 5 to 10 percent of receipts.  The value to the "
"author is the awareness it brings to them; when their book is being read, it "
"increases their reputation. Open access through unlatching generates many "
"more downloads and therefore awareness. (On the Knowledge Unlatched website, "
"you can find interviews with the twenty-eight round-one authors describing "
"their experience and the benefits of taking part.)<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"Forfatterne tjener vanligvis ikke mye i godtgjørelse for bruk fra "
"monografier.  Royalty varierer fra ingenting, til 5 til 10 prosent av det "
"som kommer inn. Verdien for forfatteren er oppmerksomheten de får. Når boken "
"deres blir lest, øker omtalen. Åpen tilgang gjennom frikjøpsunnfangelse "
"genererer mange flere nedlastinger og derfor mer oppmerksomhet. (På "
"hjemmesiden til Knowledge Unlatched, finner du intervjuer med de tjueåtte "
"forfatterne fra den første omgangen i beskrivelsen av erfaring og fordelene "
"ved å delta.)<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5380
msgid ""
"Library budgets are constantly being squeezed, partly due to the inflation "
"of journal subscriptions. But even without budget constraints, academic "
"libraries are moving away from buying physical copies. An academic library "
"catalog entry is typically a URL to wherever the book is hosted. Or if they "
"have enough electronic storage space, they may download the digital file "
"into their digital repository. Only secondarily do they consider getting a "
"print book, and if they do, they buy it separately from the digital version."
msgstr ""
"Bibliotekenes budsjetter blir stadig presset, delvis på grunn av veksten i "
"journalabonnementer. Selv uten budsjettbegrensninger, beveger akademiske "
"biblioteker seg vekk fra å kjøpe fysiske kopier. Katalogoppføringen i et "
"akademisk bibliotek er vanligvis en lenke til dit boken måte ligge. Eller, "
"hvis de har nok elektronisk lagringsplass, kan de laste ned den digitale "
"filen til sin digitale kildebrønn. Bare som et neste alternativ vurderer de "
"å anskaffe en trykt bok, og hvis de gjør det, kjøper de den separat fra den "
"digitale versjonen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5391
msgid ""
"Knowledge Unlatched offers libraries a compelling economic argument. Many of "
"the participating libraries would have bought a copy of the monograph "
"anyway, but instead of paying $95 for a print copy or $150 for a digital "
"multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens "
"the book to not just the participating libraries, but to the world."
msgstr ""
"Knowlegde Unlatched tilbyr biblioteker et overbevisende økonomisk argument. "
"Mange av de deltakende bibliotekene ville ha kjøpt en kopi av monografien "
"uansett, men isteden for å betale 95 dollar for en trykket bok eller 150 "
"dollar for en digital flerbrukskopi, betaler de 50 dollar for unnfangelsen. "
"Det koster dem mindre, og det åpner boken ikke bare for de deltakende "
"bibliotekene, men for hele verden."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5399
msgid ""
"Not only do the economics make sense, but there is very strong alignment "
"with library mandates. The participating libraries pay less than they would "
"have in the closed model, and the open-access book is available to all "
"libraries. While this means nonparticipating libraries could be seen as free "
"riders, in the library world, wealthy libraries are used to paying more than "
"poor libraries and accept that part of their money should be spent to "
"support open access. “Free ride” is more like community responsibility. By "
"the end of March 2016, the round-one books had been downloaded nearly eighty "
"thousand times in 175 countries."
msgstr ""
"Ikke bare er økonomien fornuftig, men det er  helt på linje med bibliotekets "
"oppgaver. De deltakende bibliotekene betaler mindre enn de ville ha gjort i "
"den lukkede modellen, og boken med åpen tilgang er tilgjengelig for alle "
"biblioteker. Mens dette betyr at biblioteker som ikke deltar kan bli sett på "
"som gratispassasjerer i bibliotekverdenen, er velstående biblioteker vant "
"til å betale mer enn fattigere biblioteker, og aksepterer at en del av "
"pengene deres brukes til å støtte åpen tilgang. «Gratispassasjer» er mer som "
"et samfunnsansvar. Ved utgangen av mars 2016 ble bøkene i førsterunden "
"lastet ned nesten åtti  tusen ganger i 175 land."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5411
msgid ""
"For publishers, authors, and librarians, the Knowledge Unlatched model for "
"monographs is a win-win-win."
msgstr ""
"For utgivere, forfattere og bibliotekarer er Knowledge Unlatched-modellen "
"for monografier en vinn-vinn-situasjon."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5415
msgid ""
"In the first round, Knowledge Unlatched’s overheads were covered by grants. "
"In the second round, they aim to demonstrate the model is sustainable. "
"Libraries and publishers will each pay a 7.5 percent service charge that "
"will go toward Knowledge Unlatched’s running costs. With plans to scale up "
"in future rounds, Frances figures they can fully recover costs when they are "
"unlatching two hundred books at a time. Moving forward, Knowledge Unlatched "
"is making investments in technology and processes. Future plans include "
"unlatching journals and older books."
msgstr ""
"I første runde ble Knowledge Unlatcheds kostnader dekket av bevilgninger og "
"donasjoner. I andre runde tar de sikte på å vise at modellen er bærekraftig. "
"Biblioteker og utgivere betale hver en serviceavgift på 7,5 prosent som går "
"til Knowlegde Unlatcheds driftskostnader.  Med planer om å utvide i senere "
"omganger, regner Frances med at de kan få dekket kostnadene fullt ut når de "
"frikjøper to hundre bøker om gangen.  I fortsettelsen vil Knowledge "
"Unlatched investere i teknologi og prosesser. Fremtidige planer inkluderer "
"frikjøp av tidsskifter og eldre bøker."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5426
msgid ""
"Frances believes that Knowledge Unlatched is tapping into new ways of "
"valuing academic content. It’s about considering how many people can find, "
"access, and use your content without pay barriers. Knowledge Unlatched taps "
"into the new possibilities and behaviors of the digital world. In the "
"Knowledge Unlatched model, the content-creation process is exactly the same "
"as it always has been, but the economics are different. For Frances, "
"Knowledge Unlatched is connected to the past but moving into the future, an "
"evolution rather than a revolution."
msgstr ""
"Frances mener at Knowlegde Unlatched finner nye måter å sette pris på faglig "
"innhold på. Det handler om å vurdere hvor mange mennesker som kan finne, få "
"tilgang til og bruke innholdet uten at betaling kommer i veien. Knowledge "
"Unlatched åpner nye muligheter og atferd i den digitale verden. I Knowlegde "
"Unlatched-modellen er den innholdsskapende prosessen akkurat det samme som "
"den alltid har vært, men økonomien er forskjellig. For Frances er Knowledge "
"Unlatched knyttet til fortiden, men på vei inn i fremtiden, en utvikling "
"snarere enn en revolusjon."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5438
msgid "Lumen Learning"
msgstr "Lumen Learning"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5441
msgid ""
"Lumen Learning is a for-profit company helping educational institutions use "
"open educational resources (OER). Founded in 2013 in the U.S."
msgstr ""
"Lumen Learning, et selskap til inntekts ervervelse, er myntet på opplæring "
"av utdanningsinstitusjoner i bruk av åpne pedagogiske ressurser (OER - open "
"educational resources). Grunnlagt 2013 i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5446
msgid "<ulink url=\"http://lumenlearning.com\"/>"
msgstr "<ulink url=\"http://lumenlearning.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5448
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services, grant funding"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for tilpassede "
"tjenester, gi finansiering"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5451
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 21, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 21. desember 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5454
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: David Wiley and Kim "
"Thanos, cofounders"
msgstr ""
"<emphasis role=\"strong\">Intervjuobjekter</emphasis>: David Wiley og Kim "
"Thanos, medgrunnleggere"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5468
msgid "<ulink url=\"http://lumenlearning.com/innovative-projects/\"/>"
msgstr "<ulink url=\"http://lumenlearning.com/innovative-projects/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5462
msgid ""
"Cofounded by open education visionary Dr. David Wiley and education-"
"technology strategist Kim Thanos, Lumen Learning is dedicated to improving "
"student success, bringing new ideas to pedagogy, and making education more "
"affordable by facilitating adoption of open educational resources. In 2012, "
"David and Kim partnered on a grant-funded project called the Kaleidoscope "
"Open Course Initiative.<placeholder type=\"footnote\" id=\"0\"/> It involved "
"a set of fully open general-education courses across eight colleges "
"predominantly serving at-risk students, with goals to dramatically reduce "
"textbook costs and collaborate to improve the courses to help students "
"succeed. David and Kim exceeded those goals: the cost of the required "
"textbooks, replaced with OER, decreased to zero dollars, and average student-"
"success rates improved by 5 to 10 percent when compared with previous years. "
"After a second round of funding, a total of more than twenty-five "
"institutions participated in and benefited from this project. It was career "
"changing for David and Kim to see the impact this initiative had on low-"
"income students. David and Kim sought further funding from the Bill and "
"Melinda Gates Foundation, who asked them to define a plan to scale their "
"work in a financially sustainable way. That is when they decided to create "
"Lumen Learning."
msgstr ""
"Etablert av den åpne utdanningsvisjonære dr. David Wiley og "
"utdanningsteknologistrateg Kim Thanos, skal Lumen Learning forbedre "
"studieresultater, bringe nye ideer til pedagogikken, samt gjøre utdanning "
"rimeligere ved å tilrettelegge det å ta i bruk åpne pedagogiske ressurser. I "
"2012, slo David og Kim seg sammen om et stipendfinansiert prosjekt kalt "
"Kaleidoscope Open Course Initiative.<placeholder type=\"footnote\" id=\"0\"/"
"> Det involverte en rekke helt åpne generelle utdanningskurs, fordelt på "
"åtte videregående skoler, hovedsakelig med elever i risikosonen. Målet var å "
"redusere lærebokskostnadene, og samarbeide for å forbedre kursene for å "
"hjelpe elevene å lykkes. David og Kim overskred disse målene: Kostnaden for "
"nødvendige lærebøker erstattet med OER, ble redusert til null dollar, og "
"gjennomsnittlig studentsuksess økte med fra 5 til 10 prosent, sammenlignet "
"med tidligere år. Etter en ny runde med finansiering, deltok til sammen mer "
"enn tjuefem institusjoner som alle nyttiggjorde seg av dette prosjektet. Det "
"endret yrkesfremtiden for David og Kim å se den virkningen dette initiativet "
"hadde for lavinntektselever. David og Kim søkte ytterligere finansiering fra "
"Bill og Melinda Gates Foundation, som ba dem om å lage en plan for å utvikle "
"sitt arbeid, slik at det ble økonomisk bærekraftig. Det ble da besluttet å "
"opprette Lumen Learning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5485
msgid ""
"David and Kim went back and forth on whether it should be a nonprofit or "
"for- profit. A nonprofit would make it a more comfortable fit with the "
"education sector but meant they’d be constantly fund-raising and seeking "
"grants from philanthropies.  Also, grants usually require money to be used "
"in certain ways for specific deliverables. If you learn things along the way "
"that change how you think the grant money should be used, there often isn’t "
"a lot of flexibility to do so."
msgstr ""
"David og Kim vekslet mellom hvorvidt dette skulle organiseres basert på "
"nonprofit eller fortjeneste. Nonprofit ville gjøre det mer tilpasset "
"utdanningssektoren, men betydde at de i tilfelle stadig måtte være på jakt "
"etter penger, og søke tilskudd fra veldedighetsdonasjoner. Slike donasjoner "
"krever også at pengene brukes på bestemte måter for bestemte resultater. "
"Hvis du lærer ting underveis, endres forutsetningen for hvordan du tenker "
"donasjonen skal brukes, er det ofte ikke mye fleksibilitet til å gjøre det."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5495
msgid ""
"But as a for-profit, they’d have to convince educational institutions to pay "
"for what Lumen had to offer. On the positive side, they’d have more control "
"over what to do with the revenue and investment money; they could make "
"decisions to invest the funds or use them differently based on the situation "
"and shifting opportunities. In the end, they chose the for-profit status, "
"with its different model for and approach to sustainability."
msgstr ""
"Men bygd på fortjeneste, vil de måtte overbevise utdanningsinstitusjoner om "
"å betale for hva Lumen hadde å tilby. På den positive siden ville de har mer "
"kontroll over hva de skal gjøre med inntekter og investeringspenger; de "
"kunne ta avgjørelser om å investere eller bruke dem på forskjellig måte "
"basert på situasjonen og skiftende muligheter. Til slutt valgte de "
"fortjenestemodellen, en annen modell og tilnærming til en økonomisk "
"bærekraftig utvikling."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5504
msgid ""
"Right from the start, David and Kim positioned Lumen Learning as a way to "
"help institutions engage in open educational resources, or OER. OER are "
"teaching, learning, and research materials, in all different media, that "
"reside in the public domain or are released under an open license that "
"permits free use and repurposing by others."
msgstr ""
"Helt fra starten posisjonerte David og Kim Lumen Learning som en måte å "
"hjelpe institusjoner til å bruke åpne pedagogiske ressurser eller OER. OER "
"er undervisning, læring og forskningsressurser, alle i forskjellige medier i "
"det offentlige rom, eller er utgitt med en åpen lisens som tillater andres "
"frie bruk og gjenbruk."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5512
msgid ""
"Originally, Lumen did custom contracts for each institution. This was "
"complicated and challenging to manage. However, through that process "
"patterns emerged which allowed them to generalize a set of approaches and "
"offerings. Today they don’t customize as much as they used to, and instead "
"they tend to work with customers who can use their off-the-shelf options. "
"Lumen finds that institutions and faculty are generally very good at seeing "
"the value Lumen brings and are willing to pay for it. Serving disadvantaged "
"learner populations has led Lumen to be very pragmatic; they describe what "
"they offer in quantitative terms—with facts and figures—and in a way that is "
"very student-focused. Lumen Learning helps colleges and universities—"
msgstr ""
"Opprinnelig inngikk Lumen egendefinerte kontrakter med hver institusjon. "
"Dette var komplisert og utfordrende å administrere. Men gjennom denne "
"prosessen oppsto det mønstre som tillot dem å skalere opp en rekke "
"tilnærminger og tilbud. I dag tilpasser ikke de så mye som de pleide, og i "
"stedet pleier de å jobbe med kunder som kan bruke hyllevaren deres. Lumen "
"erfarer at institusjoner og lærere generelt er veldig flinke til å se "
"verdien i det som Lumen bidrar med og er villig til å betale for den.  Å "
"hjelpe vanskeligstilte elevgrupper har gjort  Lumen veldig pragmatisk: De "
"beskriver hva de tilbyr i kvantitative termer - med tall og fakta, og på en "
"måte som er svært elev-fokusert. Lumens Learning hjelper høyskoler og "
"universiteter –"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5528
msgid "replace expensive textbooks in high-enrollment courses with OER;"
msgstr "å erstatte dyre lærebøker i kurs med mange påmeldinger med OER;"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5534
msgid ""
"provide enrolled students day one access to Lumen’s fully customizable OER "
"course materials through the institution’s learning-management system;"
msgstr ""
"og fra første dag gi lærestedets studenter tilgang til Lumens helt "
"tilpassbare OER kursmateriell gjennom institusjonens system for "
"læringshåndtering;"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5541
msgid ""
"measure improvements in student success with metrics like passing rates, "
"persistence, and course completion; and"
msgstr ""
"måle forbedringer i studentsuksess med beregninger som gjennomstrømning, "
"utholdenhet, og kursfullførelse; og"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5547
msgid ""
"collaborate with faculty to make ongoing improvements to OER based on "
"student success research."
msgstr ""
"samarbeide med fakultetet for å gjøre kontinuerlige forbedringer i OER "
"basert på kunnskap om studentens studiefremgang."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5553
msgid ""
"Lumen has developed a suite of open, Creative Commons–licensed courseware in "
"more than sixty-five subjects. All courses are freely and publicly available "
"right off their website. They can be copied and used by others as long as "
"they provide attribution to Lumen Learning following the terms of the "
"Creative Commons license."
msgstr ""
"Lumen har utviklet en rekke åpne, Creative Commons-lisensierte kursopplegg "
"for mer enn seksti fag. Alle kurs er fritt og offentlig tilgjengelig rett "
"fra deres hjemmeside. De kan kopieres og brukes av andre så lenge de gir "
"henvisning til Lumen Learning, og følger betingelsene i Creative Commons-"
"lisensen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5561
msgid ""
"Then there are three types of bundled services that cost money.  One option, "
"which Lumen calls Candela courseware, offers integration with the "
"institution’s learning-management system, technical and pedagogical support, "
"and tracking of effectiveness.  Candela courseware costs institutions ten "
"dollars per enrolled student."
msgstr ""
"Så finnes det også tre typer medfølgende tjenester som koster penger. Ett "
"alternativ, som Lumen kaller Candela courseware, tilbyr sammenknytting med "
"institusjonens læringsbehandligssystem, teknisk og pedagogisk støtte, og "
"sporing av effektivitetsgrad. Candela courseware koster institusjonene ti "
"dollar pr. deltagende student."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5569
msgid ""
"A second option is Waymaker, which offers the services of Candela but adds "
"personalized learning technologies, such as study plans, automated messages, "
"and assessments, and helps instructors find and support the students who "
"need it most. Waymaker courses cost twenty-five dollars per enrolled student."
msgstr ""
"Et andre alternativ er Waymaker, som tilbyr tjenestene i Candela, men "
"utvider med personaliserte læringsteknologier, som studieplaner, "
"automatiserte meldinger, og vurderinger, og hjelper instruktører med å finne "
"og støtte studentene som trenger det mest. Waymaker-utdanningsløp koster 25 "
"dollar pr. deltagende student."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5576
msgid ""
"The third and emerging line of business for Lumen is providing guidance and "
"support for institutions and state systems that are pursuing the development "
"of complete OER degrees. Often called Z-Degrees, these programs eliminate "
"textbook costs for students in all courses that make up the degree (both "
"required and elective)  by replacing commercial textbooks and other "
"expensive resources with OER."
msgstr ""
"Den tredje forretningsførselen, i emning, er tilbud om støtte og veiledning "
"for institusjoner og offentlige systemer som søker å utvikle fullstendige "
"OER-grader. Ofte kalles de Z-grader, disse programmene som eliminerer "
"læringsmiddelskostnader for studenter i alle tilknyttede fag som utgjør "
"graden (både påkrevde og valgfrie) ved å erstatte kommersielle skolebøker og "
"andre dyre ressurser med OER."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5585
msgid ""
"Lumen generates revenue by charging for their value-added tools and services "
"on top of their free courses, just as solar-power companies provide the "
"tools and services that help people use a free resource—sunlight. And "
"Lumen’s business model focuses on getting the institutions to pay, not the "
"students. With projects they did prior to Lumen, David and Kim learned that "
"students who have access to all course materials from day one have greater "
"success. If students had to pay, Lumen would have to restrict access to "
"those who paid. Right from the start, their stance was that they would not "
"put their content behind a paywall. Lumen invests zero dollars in "
"technologies and processes for restricting access—no digital rights "
"management, no time bombs. While this has been a challenge from a business-"
"model perspective, from an open-access perspective, it has generated immense "
"goodwill in the community."
msgstr ""
"Lumen tjener penger ved å ta betalt for deres merverdiverktøy og tjenester "
"på toppen av deres gratisfag, akkurat som solenergiselskaper tilbyr verktøy "
"og tjenester som hjelper folk å bruke en kilde som er gratis. Lumens "
"forretningsmodell fokuserer på å få institusjonene til å betale, ikke "
"studentene. Med prosjekter før Lumens tid, lærte David og Kim at studenter "
"som har tilgang til alt skolemateriell fra dag én lykkes bedre. Hvis "
"studentene skulle ha betalt, ville Lumen måtte ha begrenset tilgangen. Helt "
"fra starten var deres holdning at de ikke ville putte materialet bak en "
"betalingsmur. Lumen investerer ingenting i teknologier og prosesser for "
"begrensing av tilgang, ingen digitale rettighetsbegrensninger, ingen "
"tidsbomber. Selv om dette har vært en utfordring fra et forretningsmessig "
"perspektiv, har det sett i forhold til fri tilgang, generert masse godvilje "
"i samfunnet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5602
msgid ""
"In most cases, development of their courses is funded by the institution "
"Lumen has a contract with. When creating new courses, Lumen typically works "
"with the faculty who are teaching the new course. They’re often part of the "
"institution paying Lumen, but sometimes Lumen has to expand the team and "
"contract faculty from other institutions. First, the faculty identifies all "
"of the course’s learning outcomes. Lumen then searches for, aggregates, and "
"curates the best OER they can find that addresses those learning needs, "
"which the faculty reviews."
msgstr ""
"Som oftest finansieres utviklingen av fagene deres av læringsinstitusjonen "
"Lumen har kontakt med. Ved konstruksjon av nye fag, jobber Lumen typisk med "
"fakultetet som etter hvert vil stå for opplæringen i de nye kurset. De er "
"ofte del av institusjonen som betaler Lumen, men noen ganger må Lumen utvide "
"staben og kontakte fakultetet fra andre institusjoner. Først identifiserer "
"fakultetet læringsverdien av faget. Lumen søker så opp, ordner og rensker "
"den beste OER de kan finne i så henseende, som fakultetet så etterser."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5613
msgid ""
"Sometimes faculty like the existing OER but not the way it is presented. The "
"open licensing of existing OER allows Lumen to pick and choose from images, "
"videos, and other media to adapt and customize the course. Lumen creates new "
"content as they discover gaps in existing OER. Test-bank items and feedback "
"for students on their progress are areas where new content is frequently "
"needed.  Once a course is created, Lumen puts it on their platform with all "
"the attributions and links to the original sources intact, and any of "
"Lumen’s new content is given an Attribution (CC BY) license."
msgstr ""
"Noen ganger liker fakultetet den OER som finnes, men ikke presentasjonen av "
"den. Den åpne lisensieringen lar Lumen plukke og velge blant bilder, videoer "
"og annen media for å tilpasse og skreddersy faget. Lumen lager nytt innhold "
"for å dekke svakheter i det som finnes der allerede. Kartotekførsel av "
"elementer og tilbakemelding for studenter om fremgangen er områder der "
"innhold ofte må lages. Når et fag først er laget, putter Lumen det på sin "
"plattform med alle henvisninger og lenker til opprinnelige kilder, og alt av "
"Lumens innhold blir gitt en henvisning – Attribusjon (CC BY)-lisens."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5624
msgid ""
"Using only OER made them experience firsthand how complex it could be to mix "
"differently licensed work together. A common strategy with OER is to place "
"the Creative Commons license and attribution information in the website’s "
"footer, which stays the same for all pages. This doesn’t quite work, "
"however, when mixing different OER together."
msgstr ""
"Å kun bruke OER bidro til førstehåndserfaring med hvordan forskjellige "
"lisenser fungerer sammen. En vanlig strategi med OER er å plassere Creative "
"Commons-lisens og henvisningsinformasjon i nettsidens bunntekst, som er den "
"samme på alle sider. Dette fungerer dog ikke helt ved sammenblanding av "
"forskjellig OER."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5632
msgid ""
"Remixing OER often results in multiple attributions on every page of every "
"course—text from one place, images from another, and videos from yet "
"another. Some are licensed as Attribution (CC BY), others as Attribution-"
"ShareAlike (CC BY-SA). If this information is put within the text of the "
"course, faculty members sometimes try to edit it and students find it a "
"distraction. Lumen dealt with this challenge by capturing the license and "
"attribution information as metadata, and getting it to show up at the end of "
"each page."
msgstr ""
"Å remikse OER fører ofte med seg flere henvisninger, på hver side av hvert "
"fag – tekst fra ett sted, bilder fra et annet, og videoer fra et tredje. "
"Noen er lisensert som henvisning (CC BY) (Attribution (CC BY)), andre ting "
"som henvisning-På-Like-Vilkår (CC BY-SA) (Attribution-ShareAlike (CC BY-"
"SA)) . Hvis informasjonen legges i selve fagteksten, finner man det fra "
"fakultetshold ofte vanskelig å endre, og studentene ser på det som en "
"distraksjon. Lumen har håndtert denne utfordringen ved å samle lisens og "
"henvisninger som metadata, for å få det til å vises på slutten av hver side."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5643
msgid ""
"Lumen’s commitment to open licensing and helping low-income students has led "
"to strong relationships with institutions, open-education enthusiasts, and "
"grant funders. People in their network generously increase the visibility of "
"Lumen through presentations, word of mouth, and referrals. Sometimes the "
"number of general inquiries exceed Lumen’s sales capacity."
msgstr ""
"Lumens engasjement for åpen lisensiering og lavinntektsstudenter har ført "
"til sterke relasjoner med institusjoner, åpen-utdanningsentusiaster og "
"donorer. Personer i nettverket deres økte generøst Lumens synlighet ved "
"presentasjoner, jungeltelegrafen, og anbefalinger. Noen ganger overstiger "
"antall generelle henvendelser Lumens salgskapasitet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5651
msgid ""
"To manage demand and ensure the success of projects, their strategy is to be "
"proactive and focus on what’s going on in higher education in different "
"regions of the United States, watching out for things happening at the "
"system level in a way that fits with what Lumen offers. A great example is "
"the Virginia community college system, which is building out Z-Degrees. "
"David and Kim say there are nine other U.S. states with similar system-level "
"activity where Lumen is strategically focusing its efforts. Where there are "
"projects that would require a lot of resources on Lumen’s part, they "
"prioritize the ones that would impact the largest number of students."
msgstr ""
"For å styre etterspørselen og lykkes med prosjekter, er strategien deres å "
"være proaktiv og fokusere på hva som skjer i høyere utdanning i ulike "
"regioner i USA, og følge med på hva som skjer på systemnivå, og som passer "
"til hva Lumen kan tilby.  Et godt eksempel er Virginias offentlige college-"
"system, som bygger opp Z-grader. David og Kim sier det er ni andre "
"amerikanske stater med lignende aktivitet på systemnivå, der Lumen "
"strategisk fokuserer sin innsats. Der det er prosjekter som krever mange "
"ressurser for Lumens del, prioriterer de dem som vil ha innvirkning på "
"størst antall elever."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5664
msgid ""
"As a business, Lumen is committed to openness. There are two core "
"nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative "
"Commons licenses, for all the materials it creates; and day-one access for "
"students. Having clear nonnegotiables allows them to then engage with the "
"education community to solve for other challenges and work with institutions "
"to identify new business models that achieve institution goals, while "
"keeping Lumen healthy."
msgstr ""
"Som bedrift er Lumen forpliktet til åpenhet. Det er to hovedanliggender det "
"ikke forhandles om: Lumens bruk av CC BY, den frieste av Creative Commons-"
"lisensene, for alt materiale de lager; og tilgang fra første dag for elever. "
"Å ha klare vilkår  gjør det også mulig å samarbeide med utdanningssektoren "
"for å løse andre utfordringer, og arbeide med institusjoner for å "
"identifisere nye forretningsmodeller som realiserer institusjonens mål, mens "
"bærekraften i Lumen beholdes."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5674
msgid ""
"Openness also means that Lumen’s OER must necessarily be nonexclusive and "
"nonrivalrous. This represents several big challenges for the business model: "
"Why should you invest in creating something that people will be reluctant to "
"pay for? How do you ensure that the investment the diverse education "
"community makes in OER is not exploited? Lumen thinks we all need to be "
"clear about how we are benefiting from and contributing to the open "
"community."
msgstr ""
"Åpenhet betyr også at Lumens åpne undervisningsressurser (OER) nødvendigvis "
"må være ikke-eksklusive og ikke-rivaliserende. Dette representerer flere "
"store utfordringer for forretningsmodellen: Hvorfor skulle en investere i "
"noe som folk ville være forbeholdne med å betale for? Hvordan sikrer man at "
"investeringen i den mangfoldige utdanningssektoren lager i OER, ikke blir "
"utnyttet? Lumen mener at vi alle trenger å være klar over hvordan vi drar "
"nytte av, og bidrar til dette åpne samfunnet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5684
msgid ""
"In the OER sector, there are examples of corporations, and even "
"institutions, acting as free riders. Some simply take and use open resources "
"without paying anything or contributing anything back.  Others give back the "
"minimum amount so they can save face.  Sustainability will require those "
"using open resources to give back an amount that seems fair or even give "
"back something that is generous."
msgstr ""
"I OER-sektoren er det eksempler på organisasjoner, og til og med "
"institusjoner, som fungerer som gratispassasjerer. Noen bare tar og bruker "
"åpne ressurser uten å betale noe eller bidrar med noe tilbake. Andre gir "
"tilbake minimumsbeløpet så de kan redde ansikt. Bærekraft vil kreve at de "
"som bruker åpne ressurser, gir tilbake et beløp som synes rimelig, eller til "
"og med gir tilbake generøst."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5693
msgid ""
"Lumen does track institutions accessing and using their free content. They "
"proactively contact those institutions, with an estimate of how much their "
"students are saving and encouraging them to switch to a paid model. Lumen "
"explains the advantages of the paid model: a more interactive relationship "
"with Lumen; integration with the institution’s learning-management system; a "
"guarantee of support for faculty and students; and future sustainability "
"with funding supporting the evolution and improvement of the OER they are "
"using."
msgstr ""
"Lumen sporer institusjoner som går inn og bruker det gratis innholdet. De "
"kontakter disse institusjonene i forkant med et anslag over hvor mye elevene "
"sparer, og oppmuntrer dem til å bytte til en betalt modell. Lumen forklarer "
"fordelene med en betalt modell: Et mer interaktivt forhold til Lumen; "
"integrasjon med institusjonens læringsplattform; garantert støtte for "
"fakultet og studenter; og fremtidige bærekraft med finansiert støtte til "
"utvikling og forbedring av den OER-en de bruker."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5704
msgid ""
"Lumen works hard to be a good corporate citizen in the OER community. For "
"David and Kim, a good corporate citizen gives more than they take, adds "
"unique value, and is very transparent about what they are taking from "
"community, what they are giving back, and what they are monetizing. Lumen "
"believes these are the building blocks of a sustainable model and strives "
"for a correct balance of all these factors."
msgstr ""
"Lumen arbeider hardt for å være en god deltaker i OER-samfunnet.  For David "
"og Kim er en god deltaker en som gir mer enn man tar, legger til ting av "
"unik verdi, og er veldig gjennomsiktig for hva de tar fra dette samfunnet, "
"hva de gir tilbake, og hva de tar penger for.  Lumen mener dette er "
"byggesteinene i en bærekraftig modell, og tilstreber en riktig balanse av "
"alle disse faktorene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5713
msgid ""
"Licensing all the content they produce with CC BY is a key part of giving "
"more value than they take. They’ve also worked hard at finding the right "
"structure for their value-add and how to package it in a way that is "
"understandable and repeatable."
msgstr ""
"Lisensiering med CC BY av alt innholdet de produserer er en viktig del av å "
"gi mer verdi enn de tar. De har også jobbet hardt for å finne den rette "
"strukturen for deres verdiøkning, og hvordan de skal pakkes på en måte som "
"er forståelig, og som kan gjentas."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5719
msgid ""
"As of the fall 2016 term, Lumen had eighty-six different open courses, "
"working relationships with ninety-two institutions, and more than seventy-"
"five thousand student enrollments. Lumen received early start-up funding "
"from the Bill and Melinda Gates Foundation, the Hewlett Foundation, and the "
"Shuttleworth Foundation. Since then, Lumen has also attracted investment "
"funding. Over the last three years, Lumen has been roughly 60 percent grant "
"funded, 20 percent revenue earned, and 20 percent funded with angel capital. "
"Going forward, their strategy is to replace grant funding with revenue."
msgstr ""
"I høstesemesteret 2016 hadde Lumen åttiseks ulike åpne kurs, samarbeid med "
"nittito institusjoner, og hadde mer enn syttifem tusen elev og student-"
"påmeldinger. Lumen fikk tidlig oppstartsfinansiering fra Bill og Melinda "
"Gates Foundation, Hewlett Foundation, og Shuttleworth Foundation. Siden da "
"har Lumen også trukket til seg investorfinansiering. De siste tre årene har "
"Lumen vært omtrent 60 prosent donasjonsfinansiert, 20 prosent med inntekter "
"og 20 prosent finansiert av engelinvestorer. Fremover er strategien deres å "
"erstatte donasjoner med inntekter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5731
msgid ""
"In creating Lumen Learning, David and Kim say they’ve landed on solutions "
"they never imagined, and there is still a lot of learning taking place. For "
"them, open business models are an emerging field where we are all learning "
"through sharing. Their biggest recommendations for others wanting to pursue "
"the open model are to make your commitment to open resources public, let "
"people know where you stand, and don’t back away from it. It really is about "
"trust."
msgstr ""
"Ved å lage Lumen Learning, sier David og Kim at de har landet på løsninger "
"de aldri hadde forestilt seg, og det er fortsatt mye læring. For dem er åpne "
"forretningsmodeller et voksende felt, der vi alle lærer gjennom deling. "
"Deres viktigste anbefalinger for andre som ønsker å basere seg på åpne "
"modeller, er å forplikte seg til å åpne ressursene offentlig, og la folk "
"vite hvor du står, og ikke vike tilbake. Det er et spørsmål om tillit."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5742
msgid "Jonathan Mann"
msgstr "Jonathan Mann"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5745
msgid ""
"Jonathan Mann is a singer and songwriter who is most well known as the “Song "
"A Day” guy. Based in the U.S."
msgstr ""
"Jonathan Mann er en sanger og låtskriver som er mest kjent som «Song A Day»-"
"fyren. Han holder til i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5748
msgid ""
"<ulink url=\"http://jonathanmann.net\"/> and <ulink url=\"http://"
"jonathanmann.bandcamp.com\"/>"
msgstr ""
"<ulink url=\"http://jonathanmann.net\"/> og <ulink url=\"http://jonathanmann."
"bandcamp.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5751
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services, pay-what-you-want, crowdfunding (subscription-based), charging for "
"in-person version (speaking engagements and musical performances)"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for tilpassede "
"tjenester, Betal-hva-du-vil, folkefinansiering (abonnementsbasert), betaling "
"for personlige versjoner (inntekter fra foredrag og musikalske opptredener)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5756
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 22, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 22. februar 2016"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5764
msgid ""
"Jonathan Mann thinks of his business model as “hustling”—seizing nearly "
"every opportunity he sees to make money. The bulk of his income comes from "
"writing songs under commission for people and companies, but he has a wide "
"variety of income sources. He has supporters on the crowdfunding site "
"Patreon. He gets advertising revenue from YouTube and Bandcamp, where he "
"posts all of his music. He gives paid speaking engagements about creativity "
"and motivation. He has been hired by major conferences to write songs "
"summarizing what speakers have said in the conference sessions."
msgstr ""
"Jonathan Mann tenker på sin forretningsmodell som «luring» – å gripe nesten "
"enhver anledning han ser for å tjene penger. Hoveddelen av inntekten hans "
"kommer fra å skrive sanger på oppdrag for folk og bedrifter, men han har en "
"rekke inntektskilder. Han har tilhengere på folkefinansieringsiden Patreon. "
"Han får annonseinntekter fra YouTube og Bandcamp, der han legger ut all sin "
"musikk. Han får inntekter fra å holde foredrag om kreativitet og motivasjon. "
"Han er blitt engasjert til større konferanser for å skrive sanger som "
"oppsummerer hva innlederne har sagt i konferansens sesjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5775
msgid ""
"His entrepreneurial spirit is coupled with a willingness to take action "
"quickly. A perfect illustration of his ability to act fast happened in 2010, "
"when he read that Apple was having a conference the following day to address "
"a snafu related to the iPhone 4. He decided to write and post a song about "
"the iPhone 4 that day, and the next day he got a call from the public "
"relations people at Apple wanting to use and promote his video at the Apple "
"conference. The song then went viral, and the experience landed him in Time "
"magazine."
msgstr ""
"Hans gründeregenskaper er kombinert med en vilje til å handle raskt. En "
"perfekt illustrasjon på hans evne til å handle raskt kom i 2010 da han leste "
"at Apple hadde en konferanse dagen etter for å rette opp i et rot knyttet "
"til iPhone 4. Han besluttet å skrive og sende en sang om iPhone 4 den dagen, "
"og dagen etter fikk han en telefon fra de PR-ansvarlige hos Apple som ville "
"bruke og fremme hans video på Apple-konferansen. Sangen gikk viralt, og "
"erfaringen ga ham oppslag i Time magazine."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5786
msgid ""
"Jonathan’s successful “hustling” is also about old-fashioned persistence. He "
"is currently in his eighth straight year of writing one song each day. He "
"holds the Guinness World Record for consecutive daily songwriting, and he is "
"widely known as the “song-a-day guy.”"
msgstr ""
"Jonathans vellykkede «luring» handler også om god gammeldags utholdenhet. "
"Han holder på i det åttende året på rad med å skrive en sang hver dag. Han "
"holder Guinness verdensrekord for sammenhengende daglig låtskriving, og han "
"er viden kjent som «song-a-day guy» («sang-hver-dag-fyren»)."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5793
msgid ""
"He fell into this role by, naturally, seizing a random opportunity a friend "
"alerted him to seven years ago—an event called Fun-A-Day, where people are "
"supposed to create a piece of art every day for thirty-one days straight. He "
"was in need of a new project, so he decided to give it a try by writing and "
"posting a song each day.  He added a video component to the songs because he "
"knew people were more likely to watch video online than simply listening to "
"audio files."
msgstr ""
"Han falt inn i denne rollen, helt naturlig, ved å gripe en tilfeldig "
"mulighet en venn varslet ham om for syv år siden, en hendelse kalt Fun-A-Day "
"(Moro-hver-dag), der folk forventes å skape et kunstverk hver dag i trettien "
"dager i strekk. Han hadde behov for et nytt prosjekt, så han bestemte seg "
"for å skrive og legge ut en sang hver dag. Han la til en videokomponent til "
"sangene fordi han visste at det var mer sannsynlig at folk så på en video på "
"nettet enn bare lyttet til lydfiler."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5803
msgid ""
"He had a really good time doing the thirty-one-day challenge, so he decided "
"to see if he could continue it for one year. He never stopped. He has "
"written and posted a new song literally every day, seven days a week, since "
"he began the project in 2009. When he isn’t writing songs that he is hired "
"to write by clients, he writes songs about whatever is on his mind that day. "
"His songs are catchy and mostly lighthearted, but they often contain at "
"least an undercurrent of a deeper theme or meaning. Occasionally, they are "
"extremely personal, like the song he cowrote with his exgirlfriend "
"announcing their breakup. Rain or shine, in sickness or health, Jonathan "
"posts and writes a song every day. If he is on a flight or otherwise "
"incapable of getting Internet access in time to meet the deadline, he will "
"prepare ahead and have someone else post the song for him."
msgstr ""
"Han hadde en virkelig en god tid da han tok utfordringen med tretti-en-"
"dager. Så han bestemte seg for å se om han kunne fortsette med det i ett år. "
"Han har aldri stoppet. Han har skrevet og lagt ut en ny sang bokstavelig "
"talt hver dag, syv dager i uken, siden han startet prosjektet i 2009. Når "
"han ikke skriver sanger som oppdrag for klienter, skriver han sanger om hva "
"han har i tankene den dagen. Sangene hans er fengende og mest muntre, men "
"inneholder ofte minst en undertone av et dypere tema eller mening. Noen "
"ganger er de svært personlige, som sangen han skrev sammen med den forrige "
"kjæresten for å kunngjøre bruddet. Regn eller solskinn, syk eller frisk, "
"Jonathan skriver og legger ut en sang hver eneste dag. Hvis han er på et "
"fly, eller ellers uten tilgang til Internett innen tidsfristen, forbereder "
"han seg, og får noen andre til å legge ut sangen for ham."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5819
msgid ""
"Over time, the song-a-day gig became the basis of his livelihood.  In the "
"beginning, he made money one of two ways. The first was by entering a wide "
"variety of contests and winning a handful. The second was by having the "
"occasional song and video go some varying degree of viral, which would bring "
"more eyeballs and mean that there were more people wanting him to write "
"songs for them. Today he earns most of his money this way."
msgstr ""
"Over tid ble en-sang-om-dagen-jobben grunnlaget for hans levebrød. I "
"begynnelsen tjente han pengene på to måter. Først var ved å delta på et "
"bredt spekter av konkurranser, og vinne en håndfull. Den andre var om de "
"sporadiske sangene og videoene i ulik grad gikk viralt, noe som ville gi "
"flere seere ,og betydde at flere mennesker som ønsket at han skulle skrive "
"sanger for dem. I dag tjener han mesteparten av pengene sine på den måten."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5828
msgid ""
"His website explains his gig as “taking any message, from the super simple "
"to the totally complicated, and conveying that message through a heartfelt, "
"fun and quirky song.” He charges $500 to create a produced song and $300 for "
"an acoustic song. He has been hired for product launches, weddings, "
"conferences, and even Kickstarter campaigns like the one that funded the "
"production of this book."
msgstr ""
"Hans nettsted forklarer hans opptreden som «å ta ethvert budskap fra "
"superenkelt til det helt kompliserte, og formidle budskapet til en dyptfølt, "
"morsom og uvanlig sang». Han tar $ 500  for å produsere en sang og $ 300 for "
"en akustisk sang. Han har vært leid inn for produktlanseringer, bryllup, "
"konferanser og til og med oppstartskampanjer som den som finansierte "
"produksjonen av denne boken."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5837
msgid ""
"Jonathan can’t recall when exactly he first learned about Creative Commons, "
"but he began applying CC licenses to his songs and videos as soon as he "
"discovered the option. “CC seems like such a no-brainer,” Jonathan said. “I "
"don’t understand how anything else would make sense. It seems like such an "
"obvious thing that you would want your work to be able to be shared.”"
msgstr ""
"Jonathan kan ikke huske når akkurat han først hørte om Creative Commons, men "
"han begynte å bruke CC-lisenser til sine sanger og videoer så snart han "
"oppdaget dette alternativet. «CC virker som en så lett beslutning», sier "
"Jonathan. «Jeg forstår ikke hvordan noe annet kunne være fornuftig.  Det "
"virker så åpenbart at du skulle ønske at ditt arbeid skulle kunne deles»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5845
msgid ""
"His songs are essentially marketing for his services, so obviously the "
"further his songs spread, the better. Using CC licenses helps grease the "
"wheels, letting people know that Jonathan allows and encourages them to "
"copy, interact with, and remix his music. “If you let someone cover your "
"song or remix it or use parts of it, that’s how music is supposed to work,” "
"Jonathan said. “That is how music has worked since the beginning of time. "
"Our me-me, mine-mine culture has undermined that.”"
msgstr ""
"Sangene hans er i hovedsak markedsføring av tjenestene hans, og det er "
"åpenbart at jo videre sangene spres, jo bedre. Å bruke CC-lisenser hjelper "
"til med å smøre hjulene, lar folk få vite at Jonathan tillater, og "
"oppfordrer dem til å kopiere og samhandle med, og remikse hans musikk. «Hvis "
"du lar noen lage en coverlåt, remikser den, eller bruke deler av den, er det "
"hvordan musikk skal fungere», sier Jonathan. «Det er hvordan musikk har vært "
"fra tidenes begynnelse. Vår meg-meg, min-min kultur har undergravd det»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5855
msgid ""
"There are some people who cover his songs fairly regularly, and he would "
"never shut that down. But he acknowledges there is a lot more he could do to "
"build community. “There is all of this conventional wisdom about how to "
"build an audience online, and I generally think I don’t do any of that,” "
"Jonathan said."
msgstr ""
"Det er noen mennesker som brer hans sanger ganske regelmessig, og han ville "
"aldri stengt. Men han erkjenner det er mye mer han kunne gjøre for å bygge "
"et fellesskap. «Det er all denne konvensjonelle visdommen om hvordan man "
"bygger opp et publikum på nettet, og jeg vanligvis ikke tror jeg gjør noe av "
"det», sa Jonathan."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5862
msgid ""
"He does have a fan community he cultivates on Bandcamp, but it isn’t his "
"major focus. “I do have a core audience that has stuck around for a really "
"long time, some even longer than I’ve been doing song-a-day,” he said. "
"“There is also a transitional aspect that drop in and get what they need and "
"then move on.” Focusing less on community building than other artists makes "
"sense given Jonathan’s primary income source of writing custom songs for "
"clients."
msgstr ""
"Han har en fangruppe han dyrker på Bandcamp, men det er ikke hans "
"hovedfokus. «Jeg har et kjernepublikum som har holdt fast i virkelig lang "
"tid, noen enda lenger enn jeg har laget en sang om dagen», sa han. «Det er "
"også overganger der noen er innom og får det de trenger, og deretter går "
"videre». Å fokusere mindre på å bygge et fellesskap enn andre artister er "
"fornuftig, gitt at Jonathans primære inntektskilde er å skrive egendefinerte "
"sanger for klienter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5872
msgid ""
"Jonathan recognizes what comes naturally to him and leverages those skills. "
"Through the practice of daily songwriting, he realized he has a gift for "
"distilling complicated subjects into simple concepts and putting them to "
"music. In his song “How to Choose a Master Password,” Jonathan explained the "
"process of creating a secure password in a silly, simple song. He was hired "
"to write the song by a client who handed him a long technical blog post from "
"which to draw the information. Like a good (and rare)  journalist, he "
"translated the technical concepts into something understandable."
msgstr ""
"Jonathan kjenner igjen hva som er naturlig for ham, og benytter disse "
"ferdighetene. Gjennom praktisering av daglig låtskriving innså han at han "
"har en gave til å omsette kompliserte temaer til enkle begreper, og omsette "
"dem til musikk. I sin sang «Hvordan velge et hovedpassord» forklarte "
"Jonathan prosessen med å lage et sikkert passord i en dum, enkel sang. Han "
"ble ansatt for å skrive sangen for en klient som ga ham et langt teknisk "
"blogginnlegg som han trakk informasjonen ut av. Som en god (og sjelden) "
"journalist oversatte han tekniske begreper til noe forståelig."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5884
msgid ""
"When he is hired by a client to write a song, he first asks them to send a "
"list of talking points and other information they want to include in the "
"song. He puts all of that into a text file and starts moving things around, "
"cutting and pasting until the message starts to come together. The first "
"thing he tries to do is grok the core message and develop the chorus. Then "
"he looks for connections or parts he can make rhyme. The entire process "
"really does resemble good journalism, but of course the final product of his "
"work is a song rather than news. “There is something about being challenged "
"and forced to take information that doesn’t seem like it should be sung "
"about or doesn’t seem like it lends itself to a song,” he said. “I find that "
"creative challenge really satisfying. I enjoy getting lost in that process.”"
msgstr ""
"Når han har fått i oppdrag av en klient å skrive en sang, ber han dem først "
"om å sende en liste med snakkepunkter og annen informasjon som de ønsker å "
"ha med i sangen. Han legger alt dette i en tekstfil, og begynner å flytte "
"ting rundt omkring, klippe og lime, til budskapet begynner å samle seg.  Det "
"første han prøver å få taket på er kjernen i budskapet og å utvikle "
"refrenget. Så han ser han etter koblinger eller deler som kan gi rytme. Hele "
"arbeidsprosessen ligner virkelig god journalistikk, men sluttproduktet er "
"selvfølgelig en sang i stedet for nyheter. «Det er noe om å bli utfordret og "
"tvunget til å ta informasjon som ikke ser ut som om den skal synges om, "
"eller virker som den passer til en sang», sa han. «Jeg synes at denne "
"kreative utfordringen er veldig tilfredsstillende. Jeg liker å gå vill i den "
"prosessen»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5899
msgid ""
"Jonathan admits that in an ideal world, he would exclusively write the music "
"he wanted to write, rather than what clients hire him to write. But his "
"business model is about capitalizing on his strengths as a songwriter, and "
"he has found a way to keep it interesting for himself."
msgstr ""
"Jonathan innrømmer at i en ideell verden ville han bare skrive musikken han "
"ønsket å skrive, heller enn hva kunder ansetter ham for å skrive.  Men hans "
"forretningsmodell handler om å utnytte sin styrke som låtskriver, og han har "
"funnet en måte å holde det interessant for seg selv."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5906
msgid ""
"Jonathan uses nearly every tool possible to make money from his art, but he "
"does have lines he won’t cross. He won’t write songs about things he "
"fundamentally does not believe in, and there are times he has turned down "
"jobs on principle. He also won’t stray too much from his natural style. “My "
"style is silly, so I can’t really accommodate people who want something "
"super serious,” Jonathan said. “I do what I do very easily, and it’s part of "
"who I am.” Jonathan hasn’t gotten into writing commercials for the same "
"reasons; he is best at using his own unique style rather than mimicking "
"others."
msgstr ""
"Jonathan bruker nesten hvert eneste mulige verktøy for å tjene penger på sin "
"kunst, men han har grenser han ikke vil overskride. Han vil ikke skrive "
"sanger om ting han fundamentalt ikke tror på, og det prinsippet har til "
"tider ført til at han har avslått jobber. Han vil heller ikke gå for langt "
"fra sin naturlige stil. «Min stil er enkel («dum»), så jeg kan egentlig ikke "
"gi plass til  folk som ønsker noe supert alvorlig», sier Jonathan. «Jeg gjør "
"det jeg gjør veldig lett, og det er en del av hvem jeg er». Jonathan har "
"ikke påtatt seg å skrive reklamesnutter av samme grunn. Han er best på å "
"bruke sin egen unike stil i stedet for å etterligne andres."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5918
msgid ""
"Jonathan’s song-a-day commitment exemplifies the power of habit and grit. "
"Conventional wisdom about creative productivity, including advice in books "
"like the best-seller The Creative Habit by Twyla Tharp, routinely emphasizes "
"the importance of ritual and action. No amount of planning can replace the "
"value of simple practice and just doing. Jonathan Mann’s work is a living "
"embodiment of these principles."
msgstr ""
"Jonathans en sang-hver-dag-forpliktelse (a song-a-day commitment) "
"eksemplifiserer kraften av vane og gnissel (mot). Konvensjonell visdom om "
"kreativ produktivitet, medregnet råd i bøker som bestselgeren The Creative "
"Habit av Twyla Tharp, understreker rutinemessig viktigheten av ritual og "
"handling. Ingen planlegging kan erstatte verdien av enkel praksis og det å "
"bare gjøre. Jonathan Manns arbeid er en levende legemliggjøring av disse "
"prinsippene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5927
msgid ""
"When he speaks about his work, he talks about how much the song-a-day "
"process has changed him. Rather than seeing any given piece of work as "
"precious and getting stuck on trying to make it perfect, he has become "
"comfortable with just doing. If today’s song is a bust, tomorrow’s song "
"might be better."
msgstr ""
"Når han snakker om sitt arbeid, snakker han om hvor mye en sang-om-dagen-"
"prosessen har endret ham. Mer enn å se et hvilket som helst arbeid som "
"edelt, og bli sittende fast i å gjøre det perfekt, har han blitt komfortabel "
"med bare å gjøre det. Hvis sangen i dag er en miss, kan morgendagens sang "
"bli bedre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5934
msgid ""
"Jonathan seems to have this mentality about his career more generally. He is "
"constantly experimenting with ways to make a living while sharing his work "
"as widely as possible, seeing what sticks. While he has major "
"accomplishments he is proud of, like being in the Guinness World Records or "
"having his song used by Steve Jobs, he says he never truly feels successful."
msgstr ""
"Jonathan synes å ha denne mentaliteten om sin karriere mer generelt.  Han "
"eksperimenterer stadig med måter å leve på, mens han deler sitt arbeid så "
"mye som mulig, og ser hva som holder vann. Mens han har prestasjoner han er "
"stolt av, som å være i Guinness rekordbok, eller har sin sang som ble brukt "
"av Steve Jobs, sier han at aldri føler seg virkelig vellykket."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5942
msgid ""
"“Success feels like it’s over,” he said. “To a certain extent, a creative "
"person is not ever going to feel completely satisfied because then so much "
"of what drives you would be gone.”"
msgstr ""
"«Suksess føles som det er slutt», sa han. «Til en viss grad vil ikke en "
"kreativ person noensinne føle seg helt fornøyd, fordi da vil så mye av det "
"du driver med være borte.\""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5948
msgid "Noun Project"
msgstr "Noun Project"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5951
msgid ""
"The Noun Project is a for-profit company offering an online platform to "
"display visual icons from a global network of designers. Founded in 2010 in "
"the U.S."
msgstr ""
"Noun Project er et for-profit selskap som tilbyr en nettplattform som viser "
"visuelle ikoner fra et globalt nettverk av designere. Stiftet i 2010 i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5956
msgid "<ulink url=\"http://thenounproject.com\"/>"
msgstr "<ulink url=\"http://thenounproject.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5958
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging a transaction "
"fee, charging for custom services"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling av et "
"transaksjonsgebyr, betaling for tilpassede tjenester."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5961
msgid "<emphasis role=\"strong\">Interview date</emphasis>: October 6, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 6. oktober 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5964
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Edward Boatman, cofounder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Edward Boatman, "
"medgrunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5972
msgid ""
"The Noun Project creates and shares visual language. There are millions who "
"use Noun Project symbols to simplify communication across borders, "
"languages, and cultures."
msgstr ""
"Noun Project oppretter og deler visuelt språk. Det er millioner som bruker "
"Noun Project-symboler til å forenkle kommunikasjon på tvers av grenser, "
"språk og kulturer."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5977
msgid ""
"The original idea for the Noun Project came to cofounder Edward Boatman "
"while he was a student in architecture design school. He’d always done a lot "
"of sketches and started to draw what used to fascinate him as a child, like "
"trains, sequoias, and bulldozers.  He began thinking how great it would be "
"if he had a simple image or small icon of every single object or concept on "
"the planet."
msgstr ""
"Den opprinnelige ideen til Noun Project fikk medgrunnlegger Edward Boatman "
"da han var student på skolen for arkitekturdesign. Han hadde alltid laget "
"mange skisser, og begynte å trekke på det som fascinerte ham som barn; som "
"tog, redwood-trær (kjempesequoiatrær) og bulldosere. Han begynte å tenke på "
"hvor flott det ville være om han hadde et enkelt bilde eller lite ikon for "
"hvert enkelt objekt eller begrep i verden."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5985
msgid ""
"When Edward went on to work at an architecture firm, he had to make a lot of "
"presentation boards for clients. But finding high-quality sources for "
"symbols and icons was difficult. He couldn’t find any website that could "
"provide them. Perhaps his idea for creating a library of icons could "
"actually help people in similar situations."
msgstr ""
"Når Edward dro til jobben i et arkitektfirma, måtte han lage en mengde "
"presentasjonsoppsett for klienter. Men å finne høykvalitetskilder for "
"symboler og ikoner var vanskelig. Han kunne ikke finne noe nettsted som "
"kunne skaffe dem. Kanskje kunne hans idé om å lage et ikon-bibliotek faktisk "
"hjelpe dem som var i lignende situasjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5993
msgid ""
"With his partner, Sofya Polyakov, he began collecting symbols for a website "
"and writing a business plan. Inspiration came from the book Professor and "
"the Madman, which chronicles the use of crowdsourcing to create the Oxford "
"English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and "
"symbols from volunteer designers around the world."
msgstr ""
"Med sin partner, Sofya Polyakov, begynte han å samle symboler til et "
"nettsted, og skrive en forretningsplan. Inspirasjonen kom fra boken "
"«Professoren og galningen», som nedtegner bruken av folkefinansiering for å "
"lage Oxford English Dictionary i 1870. Edward begynte å forestille seg "
"folkefinansiering av ikoner og symboler fra frivillige designere over hele "
"verden."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6004
msgid ""
"<ulink url=\"http://www.kickstarter.com/projects/tnp/building-a-free-"
"collection-of-our-worlds-visual-sy/description\"/>"
msgstr ""
"<ulink url=\"http://www.kickstarter.com/projects/tnp/building-a-free-"
"collection-of-our-worlds-visual-sy/description\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6001
msgid ""
"Then Edward got laid off during the recession, which turned out to be a huge "
"catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya "
"launched the Noun Project with a Kickstarter campaign, back when Kickstarter "
"was in its infancy.<placeholder type=\"footnote\" id=\"0\"/> They thought "
"it’d be a good way to introduce the global web community to their idea. "
"Their goal was to raise $1,500, but in twenty days they got over $14,000. "
"They realized their idea had the potential to be something much bigger."
msgstr ""
"Så ble Edward permittert i nedgangstiden, noe som viste seg å være en viktig "
"katalysator. Han bestemte seg å gi sin idé en sjanse, og i 2010 lanserte "
"Edward og Sofya Noun Projectet med en Kickstarter-kampanje, den gang "
"Kickstarter var i sin barndom.<placeholder type=\"footnote\" id=\"0\"/> De "
"trodde det ville være en god måte å introdusere deres idé for det globale "
"nettsamfunnet. Målet var å få inn $1,500, men på tjue dager de fikk over "
"$14,000. Da skjønte de at ideen deres hadde potensiale til å bli noe mye "
"større."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6010
msgid ""
"They created a platform where symbols and icons could be uploaded, and "
"Edward began recruiting talented designers to contribute their designs, a "
"process he describes as a relatively easy sell. Lots of designers have old "
"drawings just gathering “digital dust” on their hard drives. It’s easy to "
"convince them to finally share them with the world."
msgstr ""
"De laget en plattform der symboler og ikoner kan lastes opp, og Edward "
"begynte å rekruttere talentfulle designere til å bidra med sin design, en "
"prosess som han beskriver som relativt lett å selge. Mange designere har "
"gamle tegninger som bare samlet «\"digitalt støv» på harddiskene sine. Det "
"er lett å overbevise dem om endelig å dele dem med verden."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6018
msgid ""
"The Noun Project currently has about seven thousand designers from around "
"the world. But not all submissions are accepted. The Noun Project’s quality-"
"review process means that only the best works become part of its collection. "
"They make sure to provide encouraging, constructive feedback whenever they "
"reject a piece of work, which maintains and builds the relationship they "
"have with their global community of designers."
msgstr ""
"Noun Projectet har i dag om lag syv tusen designere fra hele verden. Men "
"ikke alle innleveringer er tillatt. Noun Projectet har en kvalitetskontroll "
"som betyr at bare de beste arbeidene blir en del av samlingen. De sørger for "
"å gi oppmuntrende, konstruktive tilbakemeldinger når de avviser et arbeid, "
"som bibeholder og bygger videre på forholdet de har med sitt globale "
"fellesskap av designere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6027
msgid ""
"Creative Commons is an integral part of the Noun Project’s business model; "
"this decision was inspired by Chris Anderson’s book Free: The Future of "
"Radical Price, which introduced Edward to the idea that you could build a "
"business model around free content."
msgstr ""
"Creative Commons er en integrert del i Noun Project sin forretningsmodell; "
"denne beslutningen ble inspirert av Chris Andersons bok Free: The Future of "
"Radical Price, som ga Edward ideen om at du kan bygge en forretningsmodell "
"rundt gratis innhold."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6034
msgid ""
"Edward knew he wanted to offer a free visual language while still providing "
"some protection and reward for its contributors. There is a tension between "
"those two goals, but for Edward, Creative Commons licenses bring this "
"idealism and business opportunity together elegantly. He chose the "
"Attribution (CC BY) license, which means people can download the icons for "
"free and modify them and even use them commercially. The requirement to give "
"attribution to the original creator ensures that the creator can build a "
"reputation and get global recognition for their work. And if they simply "
"want to offer an icon that people can use without having to give credit, "
"they can use CC0 to put the work into the public domain."
msgstr ""
"Edward visste at han ønsket å tilby et gratis visuelt språk samtidig som det "
"ble gitt noe beskyttelse og belønning for bidragsytere. Det er en spenning "
"mellom disse to målene. For Edward bringer Creative Commons-lisensene denne "
"idealismen og forretningsmuligheten elegant sammen. Han valgte Attribution "
"(CC BY)-lisensen, som betyr at folk kan laste ned ikoner gratis, og endre "
"dem, og også bruke dem kommersielt. Kravet om å henvise til den opprinnelige "
"kreative personen sikrer at skaperen kan bygge et omdømme, og få global "
"anerkjennelse for sitt arbeid. Hvis de bare vil tilby et ikon som folk kan "
"bruke uten å gi noen kreditt for det, kan de bruke CC0 til å legge arbeidet "
"ut i det offentlige rom."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6048
msgid ""
"Noun Project’s business model and means of generating revenue have evolved "
"significantly over time. Their initial plan was to sell T-shirts with the "
"icons on it, which in retrospect Edward says was a horrible idea. They did "
"get a lot of email from people saying they loved the icons but asking if "
"they could pay a fee instead of giving attribution. Ad agencies (among "
"others) wanted to keep marketing and presentation materials clean and free "
"of attribution statements. For Edward, “That’s when our lightbulb went off.”"
msgstr ""
"Noun Projects forretningsmodell og metode for å generere inntekter har "
"utviklet seg signifikant over tid. Deres opprinnelige plan var å selge T-"
"skjorter med ikoner, som Edward i ettertid sier var en forferdelig idé. De "
"fikk en masse e-post fra folk sier de elsket ikonene. Men spurte om de kunne "
"betale et gebyr i stedet for å gi referanse.  Reklamebyråer ønsket (blant "
"andre) å holde markedsføring og presentasjonsmateriale rent og uten "
"referanseuttalelser. For Edward: «Det var da lyspæren vår sa poff»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6058
msgid ""
"They asked their global network of designers whether they’d be open to "
"receiving modest remuneration instead of attribution.  Designers saw it as a "
"win-win. The idea that you could offer your designs for free and have a "
"global audience and maybe even make some money was pretty exciting for most "
"designers."
msgstr ""
"De spurte sitt globale nettverk av designere om de ville være åpne for å "
"motta en beskjeden godtgjørelse i stedet for referanse. Designere så det som "
"en vinn-vinn-situasjon. Ideen om at du kan tilby design gratis og ha et "
"globalt publikum, og kanskje til og med tjene litt penger, var ganske "
"spennende for de fleste designere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6065
msgid ""
"The Noun Project first adopted a model whereby using an icon without giving "
"attribution would cost $1.99 per icon. The model’s second iteration added a "
"subscription component, where there would be a monthly fee to access a "
"certain number of icons—ten, fifty, a hundred, or five hundred. However, "
"users didn’t like these hard-count options. They preferred to try out many "
"similar icons to see which worked best before eventually choosing the one "
"they wanted to use. So the Noun Project moved to an unlimited model, whereby "
"users have unlimited access to the whole library for a flat monthly fee. "
"This service is called NounPro and costs $9.99 per month. Edward says this "
"model is working well—good for customers, good for creators, and good for "
"the platform."
msgstr ""
"Noun Projectet adopterte først en modell der å bruke et symbol uten å gi "
"referanse ville koste $1,99 per ikon. Modellens andre trinn er å legge til "
"en abonnementskomponent, der det vil være en månedlig avgift opp til et "
"visst antall ikoner - ti, femti, hundre eller fem hundre. Imidlertid likte "
"ikke brukere disse skarpe telle-alternativene. De foretrakk å prøve ut mange "
"lignende ikoner for å se hva som fungerte best før de til slutt velger den "
"de ville bruke. Så Noun Project flyttet over til en ubegrenset modell, der "
"brukerne har ubegrenset tilgang til hele biblioteket for en fast "
"månedsavgift. Denne tjenesten kalles NounPro og koster $9,99 per måned. "
"Edward sier denne modellen fungerer bra: Bra for kunder, bra for skapere, og "
"bra for plattformen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6079
msgid ""
"Customers then began asking for an application-programming interface (API), "
"which would allow Noun Project icons and symbols to be directly accessed "
"from within other applications. Edward knew that the icons and symbols would "
"be valuable in a lot of different contexts and that they couldn’t possibly "
"know all of them in advance, so they built an API with a lot of "
"flexibility.  Knowing that most API applications would want to use the icons "
"without giving attribution, the API was built with the aim of charging for "
"its use. You can use what’s called the “Playground API” for free to test how "
"it integrates with your application, but full implementation will require "
"you to purchase the API Pro version."
msgstr ""
"Kundene begynte så å be om en grenseflate med et programmeringsverktøy (API "
"- Application Programming Interface ), som ville tillate direkte tilgang til "
"Noun Projectets ikoner og symboler fra andre programmer. Edward visste at "
"ikonene og symbolene ville være verdifulle i mange ulike sammenhenger, og at "
"det var umulig å vite hvilke  på forhånd, så de bygde en API med mye "
"fleksibilitet. De visste  at de fleste API-programmer ønsker å bruke ikonene "
"uten referanse, og API ble derfor bygget uten å kunne gi referanser. Du kan "
"bruke gratis det som kalles «Playgound API» for å teste hvordan den passer "
"med hva du skal bruke den til. Men full implementering vil kreve kjøp av en "
"API Pro-versjon."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6093
msgid ""
"The Noun Project shares revenue with its international designers.  For one-"
"off purchases, the revenue is split 70 percent to the designer and 30 "
"percent to Noun Project."
msgstr ""
"Noun Projectet deler inntektene med sine internasjonale designere. For "
"engangskjøp deles inntektene 70 prosent til designer og 30 prosent til Noun "
"Projectet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6098
msgid ""
"The revenue from premium purchases (the subscription and API options) is "
"split a little differently. At the end of each month, the total revenue from "
"subscriptions is divided by Noun Project’s total number of downloads, "
"resulting in a rate per download—for example, it could be $0.13 per download "
"for that month. For each download, the revenue is split 40 percent to the "
"designer and 60 percent to the Noun Project. (For API usage, it’s per use "
"instead of per download.) Noun Project’s share is higher this time as it’s "
"providing more service to the user."
msgstr ""
"Inntektene fra premiumkjøp (abonnement og API-alternativene) deles litt "
"annerledes. På slutten av hver måned, deles den totale inntekten fra "
"abonnementer mellom Noun Project samlede antall  nedlastinger, noe som gir "
"en pris pr. nedlasting; - for eksempel kan det bli $ 0.13 pr. nedlasting for "
"denne måneden. For hver nedlasting deles inntektene 40 prosent til designer "
"og 60 prosent til Noun Projectet.  (For API-bruk er det pr. bruk, i stedet "
"for pr. nedlasting.) Noun Projectets  andel er høyere denne gangen, etter "
"som det stiller opp med en større andel av tjenesten til brukeren."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6110
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6182
msgid ""
"<ulink url=\"http://thenounproject.com/handbook/royalties/#getting_paid\"/>"
msgstr ""
"<ulink url=\"http://thenounproject.com/handbook/royalties/#getting_paid\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6109
msgid ""
"The Noun Project tries to be completely transparent about their royalty "
"structure.<placeholder type=\"footnote\" id=\"0\"/> They tend to over "
"communicate with creators about it because building trust is the top "
"priority."
msgstr ""
"Noun Projectet prøver å være helt åpne om hvilken struktur godtgjøringen har."
"<placeholder type=\"footnote\" id=\"0\"/> De pleier å overkommunisere dette "
"overfor innholdsleverandørene fordi å bygge tillit har høyeste prioritet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6114
msgid ""
"For most creators, contributing to the Noun Project is not a full-time job "
"but something they do on the side. Edward categorizes monthly earnings for "
"creators into three broad categories: enough money to buy beer; enough to "
"pay the bills; and most successful of all, enough to pay the rent."
msgstr ""
"For de fleste innholdsleverandører som bidrar til Noun Projectet er det ikke "
"en fulltidsjobb, men noe som kommer i tillegg. Edward kategoriserer "
"månedslønnen for leverandørene i tre hovedkategorier: Nok penger til å kjøpe "
"øl, nok til å betale regningene, og de mest vellykkede av alle, nok til å "
"betale husleien."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6121
msgid ""
"Recently the Noun Project launched a new app called Lingo.  Designers can "
"use Lingo to organize not just their Noun Project icons and symbols but also "
"their photos, illustrations, UX designs, et cetera. You simply drag any "
"visual item directly into Lingo to save it. Lingo also works for teams so "
"people can share visuals with each other and search across their combined "
"collections. Lingo is free for personal use. A pro version for $9.99 per "
"month lets you add guests. A team version for $49.95 per month allows up to "
"twenty-five team members to collaborate, and to view, use, edit, and add new "
"assets to each other’s collections.  And if you subscribe to NounPro, you "
"can access Noun Project from within Lingo."
msgstr ""
"Noun Projectet lanserte nylig en ny app kalt Lingo. Designere kan bruke "
"Lingo til å organisere ikke bare deres Noun Project-ikoner og symboler, men "
"også sine egne bilder, illustrasjoner, UX design (UX - User eXperience), og "
"så videre. Du bare drar visuelle elementer direkte inn i  Lingo og lagrer "
"dem. Lingo fungerer også for team slik at folk kan dele bilder med hverandre "
"og søke gjennom sine kombinerte samlinger. Lingo er gratis til personlig "
"bruk. I en pro-versjon for $ 9,99 pr. måned kan du legge til gjester. En "
"team-versjon til $ 49,95 pr. måned lar opptil til tjuefem gruppemedlemmer "
"samarbeide - og vise, bruke, redigere og legge til nye ressurser i andres "
"samlinger.  Og hvis du abonnerer på NounPro, kan du åpne Noun Projectet "
"direkte fra Lingo."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6135
msgid ""
"The Noun Project gives a ton of value away for free. A very large percentage "
"of their roughly one million members have a free account, but there are "
"still lots of paid accounts coming from digital designers, advertising and "
"design agencies, educators, and others who need to communicate ideas "
"visually."
msgstr ""
"Noun Project gir massevis av verdi bort gratis. En svært stor andel av deres "
"omtrent en million medlemmer har en gratis konto, men det er fortsatt mange "
"betalte kontoer fra digital designere, reklame- og designbyråer, lærere og "
"andre som trenger å kommunisere ideer visuelt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6142
msgid ""
"For Edward, “creating, sharing, and celebrating the world’s visual language” "
"is the most important aspect of what they do; it’s their stated mission. It "
"differentiates them from others who offer graphics, icons, or clip art."
msgstr ""
"For Edward er «å lage, dele og feire verdens visuell språk» det viktigste "
"ved hva de gjør; det er deres uttalte formål. Det skiller dem fra andre som "
"tilbyr grafikk, ikoner eller utklipp."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6148
msgid ""
"Noun Project creators agree. When surveyed on why they participate in the "
"Noun Project, this is how designers rank their reasons: 1)  to support the "
"Noun Project mission, 2) to promote their own personal brand, and 3) to "
"generate money. It’s striking to see that money comes third, and mission, "
"first. If you want to engage a global network of contributors, it’s "
"important to have a mission beyond making money."
msgstr ""
"Noun Projects designere er enige. Når det kartlegges hvorfor de deltar i "
"Noun Project, rangerer designere sine grunner slik: 1) for å støtte Noun "
"Projects hovedoppgave, 2) for å fremme sin egen personlige merkevare, og 3) "
"for å tjene penger. Det er påfallende å se at pengene kommer på tredjeplass "
"og hovedoppgaven først. Hvis du ønsker å engasjere et globalt nettverk av "
"bidragsytere, er det viktig å ha et oppdrag utover det å tjene penger."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6157
msgid ""
"In Edward’s view, Creative Commons is central to their mission of sharing "
"and social good. Using Creative Commons makes the Noun Project’s mission "
"genuine and has generated a lot of their initial traction and credibility. "
"CC comes with a built-in community of users and fans."
msgstr ""
"Fra Edvards synspunkt er Creative Commons sentral i deres hovedoppgave med å "
"dele og gi sosial nytte. Å bruke Creative Commons gjør Noun Projects oppdrag "
"genuint, og innledningsvis genererte det mye trekkraft og troverdighet. CC "
"kommer med et innebygd fellesskap med brukere og tilhengere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6164
msgid ""
"Edward told us, “Don’t underestimate the power of a passionate community "
"around your product or your business. They are going to go to bat for you "
"when you’re getting ripped in the media. If you go down the road of choosing "
"to work with Creative Commons, you’re taking the first step to building a "
"great community and tapping into a really awesome community that comes with "
"it. But you need to continue to foster that community through other "
"initiatives and continue to nurture it.”"
msgstr ""
"Edward fortalte oss «Ikke undervurder kraften i et kraftig engasjert "
"fellesskap rundt produktet eller firmaet. De vil virkelig kjempe for deg om "
"du blir hengt ut i media. Hvis du går i gang og velger å arbeide med "
"Creative Commons, tar du det første skrittet til å bygge et stort "
"fellesskap, og plugger deg til et virkelig fantastisk fellesskap følger med. "
"Men du må fortsette å fostre det fellesskapet med andre initiativer, og "
"fortsette å gi det næring»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6174
msgid ""
"The Noun Project nurtures their creators’ second motivation—promoting a "
"personal brand—by connecting every icon and symbol to the creator’s name and "
"profile page; each profile features their full collection. Users can also "
"search the icons by the creator’s name."
msgstr ""
"Noun Projectet fremmer den andre motivasjonen til dem som laget det; å "
"fremme en personlig merkevare – ved å koble hvert ikon og symbol til "
"designerens navn og profilside. Hver profil viser hele samlingen deres. "
"Brukerne kan også søke i ikonene etter designerens navn."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6181
#, fuzzy
msgid ""
"The Noun Project also builds community through Iconathons—hackathons for "
"icons.<placeholder type=\"footnote\" id=\"0\"/> In partnership with a "
"sponsoring organization, the Noun Project comes up with a theme (e.g., "
"sustainable energy, food bank, guerrilla gardening, human rights) and a list "
"of icons that are needed, which designers are invited to create at the "
"event.  The results are vectorized, and added to the Noun Project using CC0 "
"so they can be used by anyone for free."
msgstr ""
"Noun Projectet bygger også fellesskap gjennom Iconathoner – hackathon-"
"eventer for ikoner.<placeholder type=\"footnote\" id=\"0\"/> I samarbeid med "
"en sponsororganisasjon foreslår Noun Prosjektet et tema (f.eks bærekraftig "
"energi, matbank, gerilja hagearbeid, menneskerettigheter) og en liste over "
"ikoner som trengs, som designere blir bedt om å lage på arrangementet. "
"Resultatene vektes  og legges til Noun Projectet med CC0-lisens slik at de "
"kan brukes gratis av alle."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6190
msgid ""
"Providing a free version of their product that satisfies a lot of their "
"customers’ needs has actually enabled the Noun Project to build the paid "
"version, using a service-oriented model. The Noun Project’s success lies in "
"creating services and content that are a strategic mix of free and paid "
"while staying true to their mission—creating, sharing, and celebrating the "
"world’s visual language. Integrating Creative Commons into their model has "
"been key to that goal."
msgstr ""
"Å gi en gratis produktversjon som tilfredsstiller mange kunders behov, har "
"faktisk gjort det mulig for Noun Projectet å bygge en betalt versjon med en "
"serviceorientert modell. Noun Projectets suksess ligger i å skape tjenester "
"og innhold som er en strategisk blanding av gratis og betalt,og samtidig "
"være tro mot sitt oppdrag – å skape, dele og feire verdens visuelle språk. Å "
"integrere Creative Commons i modellen har vært nøkkelen til å nå dette målet."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6201
msgid "Open Data Institute"
msgstr "Open Data-instituttet"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6204
msgid ""
"The Open Data Institute is an independent nonprofit that connects, equips, "
"and inspires people around the world to innovate with data. Founded in 2012 "
"in the UK."
msgstr ""
"Open Data Institute er et uavhengig nonprofit foretak som kobler, utstyrer "
"og inspirerer folk rundt om i verden til å innovere med data. Grunnlagt i "
"2012 i Storbritannia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6209
msgid "<ulink url=\"http://theodi.org\"/>"
msgstr "<ulink url=\"http://theodi.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6211
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grant and government "
"funding, charging for custom services, donations"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Stipendier  og "
"offentlig finansiering, betaling for tilpassede tjenester, donasjoner"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6214
msgid "<emphasis role=\"strong\">Interview date</emphasis>: November 11, 2015"
msgstr "<emphasis role=\"strong\">Intervjudato</emphasis>: 11. november 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6217
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Jeni Tennison, technical "
"director"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Jeni Tennison, teknisk "
"direktør"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6225
msgid ""
"Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the London-"
"based Open Data Institute (ODI) offers data-related training, events, "
"consulting services, and research. For ODI, Creative Commons licenses are "
"central to making their own business model and their customers’ open. CC BY "
"(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the "
"public domain)  all play a critical role in ODI’s mission to help people "
"around the world innovate with data."
msgstr ""
"Det London-baserte Open Data Institute (ODI) ble etablert av Sir Tim Berners-"
"Lee og Sir Nigel Shadbolt i 2012, og tilbyr datatrening, arrangementer, "
"konsulenttjenester og forskning. For ODI er Creative Commons-lisenser "
"sentrale både når de lager sin egen forretningsmodell og de kundene deres "
"lager. CC BY (Attribution), CC BY-SA (Attribution-ShareAlike), og CC0 "
"(plassert i det offentlige rom), alle har en avgjørende rolle i ODIs oppgave "
"å hjelpe folk rundt i verden å innovere med data."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6235
msgid ""
"Data underpins planning and decision making across all aspects of society. "
"Weather data helps farmers know when to plant their crops, flight time data "
"from airplane companies helps us plan our travel, data on local housing "
"informs city planning. When this data is not only accurate and timely, but "
"open and accessible, it opens up new possibilities. Open data can be a "
"resource businesses use to build new products and services. It can help "
"governments measure progress, improve efficiency, and target investments. It "
"can help citizens improve their lives by better understanding what is "
"happening around them."
msgstr ""
"Data underbygger planlegging og beslutningsprosesser på alle "
"samfunnsområder. Værdata hjelper bønder til å å vite når de skal plante sine "
"avlinger, flytidsdata fra flyselskaper hjelper oss å planlegge vår reise, "
"data om lokale boliger informerer om byplanleggingen. Når dataene er ikke "
"bare nøyaktige og og i rett tid, men er åpne og tilgjengelige, åpnes nye "
"muligheter. Åpne data kan være en ressurs for bedrifter til å bygge nye "
"produkter og tjenester. De kan hjelpe regjeringer til å måle fremgang, "
"forbedre effektiviteten og målrette investeringer. Det kan hjelpe borgere "
"til å forbedre sine liv ved å bedre forstå hva som skjer rundt dem."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6247
msgid ""
"The Open Data Institute’s 2012–17 business plan starts out by describing its "
"vision to establish itself as a world-leading center and to research and be "
"innovative with the opportunities created by the UK government’s open data "
"policy. (The government was an early pioneer in open policy and open-data "
"initiatives.) It goes on to say that the ODI wants to—"
msgstr ""
"Open Data Institutet sin forretningsplan for 2012 – 2017 starter ved å "
"beskrive visjonen om å etablere seg som et verdensledende senter, og å "
"forske og være nyskapende med mulighetene som åpner seg med den britiske "
"regjeringens åpne datapolitikk. (Regjeringen var en pioner i åpen politikk "
"og åpne-data-initiativer.) Den fortsetter med å si at ODI vil –"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6257
msgid ""
"demonstrate the commercial value of open government data and how open-data "
"policies affect this;"
msgstr ""
"demonstrere den kommersielle verdien av åpne offentlige data, og hvordan "
"åpen data-politikk berører dette;"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6263
msgid "develop the economic benefits case and business models for open data;"
msgstr ""
"utvikle eksempler på de økonomiske fordelene – og forretningsmodeller for "
"åpne data."

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6269
msgid "help UK businesses use open data; and"
msgstr "hjelpe britiske bedrifter å bruke åpne data; og"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6274
msgid ""
"<ulink url=\"http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6."
"cf3.rackcdn.com/odi-business-plan-may-release.pdf\"/>"
msgstr ""
"<ulink url=\"http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6."
"cf3.rackcdn.com/odi-business-plan-may-release.pdf\"/>"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6274
msgid ""
"show how open data can improve public services.<placeholder type=\"footnote"
"\" id=\"0\"/>"
msgstr ""
"vise hvordan åpne data kan forbedre offentlige tjenester. <placeholder type="
"\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6279
msgid ""
"ODI is very explicit about how it wants to make open business models, and "
"defining what this means. Jeni Tennison, ODI’s technical director, puts it "
"this way: “There is a whole ecosystem of open—open-source software, open "
"government, open-access research—and a whole ecosystem of data. ODI’s work "
"cuts across both, with an emphasis on where they overlap—with open data.” "
"ODI’s particular focus is to show open data’s potential for revenue."
msgstr ""
"ODI er veldig klar på hvordan de ønsker å lage åpne forretningsmodeller, og "
"definere hva dette betyr. Jeni Tennison, ODIs tekniske direktør, sier det "
"slik: «Det er et helt åpent økosystem  – fri programvare, åpen regjering, "
"åpen tilgang til forskning – og et helt økosystem av data. ODIs arbeid går "
"tvers over begge, med vekten på der de overlapper – med åpen data». ODIs "
"særlige fokus er å vise åpne datas potensiale for å gi inntekter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6289
msgid ""
"As an independent nonprofit, ODI secured £10 million over five years from "
"the UK government via Innovate UK, an agency that promotes innovation in "
"science and technology. For this funding, ODI has to secure matching funds "
"from other sources, some of which were met through a $4.75-million "
"investment from the Omidyar Network."
msgstr ""
"Som et uavhengig nonprofit-foretak sikret ODI seg £ 10 millioner over fem år "
"fra den britiske regjeringen via Innovate UK, et byrå som fremmer innovasjon "
"innen vitenskap og teknologi. Med denne finansiering må ODI sikre seg "
"tilsvarende midler fra andre kilder, der noen ble oppnådd ved en $ 4,75 "
"millioner investering fra Omidyar Network."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6297
msgid ""
"Jeni started out as a developer and technical architect for data.gov.uk, the "
"UK government’s pioneering open-data initiative.  She helped make data sets "
"from government departments available as open data. She joined ODI in 2012 "
"when it was just starting up, as one of six people. It now has a staff of "
"about sixty."
msgstr ""
"Jeni startet som utvikler og teknisk arkitekt for data.gov.uk, den britiske "
"regjeringens banebrytende åpne-data-initiativ.  Hun hjalp til med å gjøre "
"datasett fra regjeringens avdelinger tilgjengelige åpne data. Hun begynte "
"ODI i 2012 i oppstartfasen, som en av seks personer. Nå er det rundt seksti "
"ansatte."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6304
msgid ""
"ODI strives to have half its annual budget come from the core UK government "
"and Omidyar grants, and the other half from project-based research and "
"commercial work. In Jeni’s view, having this balance of revenue sources "
"establishes some stability, but also keeps them motivated to go out and "
"generate these matching funds in response to market needs."
msgstr ""
"ODI bestreber seg på at halvdelen av det årlige budsjett skal komme fra UKs "
"regjering og donasjoner fra Omidyar, og den andre halvdelen fra prosjekt-"
"basert forskning og kommersielle oppdrag. Etter Jenis syn, har denne "
"balansen i  inntektskilder gitt noe stabilitet, men den holder dem også "
"motivert til å gå ut og generere tilsvarende inntekter som svar på behov i "
"markedet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6312
msgid ""
"On the commercial side, ODI generates funding through memberships, training, "
"and advisory services."
msgstr ""
"På den kommersielle siden genererer ODI inntekter ved medlemskap, opplæring "
"og rådgivning."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6327
msgid "<ulink url=\"http://directory.theodi.org/members\"/>"
msgstr "<ulink url=\"http://directory.theodi.org/members\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6316
msgid ""
"You can join the ODI as an individual or commercial member.  Individual "
"membership is pay-what-you-can, with options ranging from £1 to £100. "
"Members receive a newsletter and related communications and a discount on "
"ODI training courses and the annual summit, and they can display an ODI-"
"supporter badge on their website. Commercial membership is divided into two "
"tiers: small to medium size enterprises and nonprofits at £720 a year, and "
"corporations and government organizations at £2,200 a year.  Commercial "
"members have greater opportunities to connect and collaborate, explore the "
"benefits of open data, and unlock new business opportunities. (All members "
"are listed on their website.)<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Du kan delta i ODI som personlig eller kommersielt medlem.  Individuelle "
"medlemskap er betal-hva-du-kan, med alternativer fra £ 1 til £ 100. "
"Medlemmer mottar nyhetsbrev og relatert kommunikasjon, og rabatt på ODIs "
"kurs og årssamling, og de kan vise et ODI-tilhengermerke på sin hjemmeside. "
"Kommersielle medlemskap er delt inn i to klasser: Små og mellomstore "
"bedrifter og ideelle organisasjoner som betaler £ 720 pr. år, og selskaper "
"og offentlige organisasjoner som betaler £ 2200 året.  Kommersielle "
"medlemmer har større muligheter til å koble seg til og samarbeide, utnytte "
"fordelene med åpne data, og åpne opp for nye forretningsmuligheter. (Alle "
"medlemmer er listet på nettsiden deres.) <placeholder type=\"footnote\" id=\""
"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6330
msgid ""
"ODI provides standardized open data training courses in which anyone can "
"enroll. The initial idea was to offer an intensive and academically oriented "
"diploma in open data, but it quickly became clear there was no market for "
"that. Instead, they offered a five-day-long public training course, which "
"has subsequently been reduced to three days; now the most popular course is "
"one day long. The fee, in addition to the time commitment, can be a barrier "
"for participation. Jeni says, “Most of the people who would be able to pay "
"don’t know they need it. Most who know they need it can’t pay.” Public-"
"sector organizations sometimes give vouchers to their employees so they can "
"attend as a form of professional development."
msgstr ""
"ODI gir standardisert opplæringskurs i åpne data der alle kan melde seg på. "
"Den opprinnelige ideen var å tilby et intensivt og akademisk diplom i åpne "
"data, men det ble raskt klart det ikke var noe marked for det. I stedet "
"tilbød de fem dagers lange offentlige opplæringskurs, som senere er redusert "
"til tre dager. Nå er det mest populære kurset på en dag. Avgiften, i tillegg "
"til den tiden det krever, kan være en barriere for deltakelse. Jeni sier: «"
"De fleste av dem som kunne betale vet ikke at de trenger det. De fleste som "
"vet at de trenger det, kan ikke betale». Offentlige organisasjoner gir noen "
"ganger kuponger til sine ansatte, slik at de kan delta som en form for "
"faglig utvikling."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6344
msgid ""
"ODI customizes training for clients as well, for which there is more demand. "
"Custom training usually emerges through an established relationship with an "
"organization. The training program is based on a definition of open-data "
"knowledge as applicable to the organization and on the skills needed by "
"their high-level executives, management, and technical staff. The training "
"tends to generate high interest and commitment."
msgstr ""
"ODI tilpasser trening for klienter også, som det er mer etterspørsel etter. "
"Tilpasset opplæring oppstår vanligvis gjennom et etablert forhold til en "
"organisasjon. Treningsprogrammet er basert på en definisjon av åpen-"
"datakunnskap som gjelder for organisasjonen, og ferdighetene som trengs av "
"de øverste ledere,  administrasjon og teknisk personale. Opplæringen har en "
"tendens til å generere stor interesse og engasjement."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6353
msgid ""
"Education about open data is also a part of ODI’s annual summit event, where "
"curated presentations and speakers showcase the work of ODI and its members "
"across the entire ecosystem. Tickets to the summit are available to the "
"public, and hundreds of people and organizations attend and participate. In "
"2014, there were four thematic tracks and over 750 attendees."
msgstr ""
"Opplæring om åpne data er også en del av ODIS årssamling, der foredrag og "
"presentasjoner viser frem resultater fra ODI og medlemmer fra hele "
"økosystemet. Billetter til arrangementet er offentlig tilgjengelig, og "
"hundrevis av besøkende og organisasjoner er til stede og deltar. I 2014 var "
"det fire tematiske spor og over 750 deltakere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6361
msgid ""
"In addition to memberships and training, ODI provides advisory services to "
"help with technical-data support, technology development, change management, "
"policies, and other areas. ODI has advised large commercial organizations, "
"small businesses, and international governments; the focus at the moment is "
"on government, but ODI is working to shift more toward commercial "
"organizations."
msgstr ""
"I tillegg til medlemskap og trening utfører ODI rådgiving og bistand med "
"teknisk datastøtte, teknologiutvikling, endringsledelse, politikk og på "
"andre områder. ODI har gitt råd til store kommersielle organisasjoner, små "
"bedrifter og internasjonale myndigheter. I øyeblikket er fokus på "
"regjeringen, men ODI arbeider med å skifte mer til kommersielle "
"organisasjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6370
#, fuzzy
msgid ""
"On the commercial side, the following value propositions seem to resonate:"
msgstr ""
"På den kommersielle siden synes følgende verdistanspunkter å gi gjenklang:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6376
msgid ""
"Data-driven insights. Businesses need data from outside their business to "
"get more insight. Businesses can generate value and more effectively pursue "
"their own goals if they open up their own data too. Big data is a hot topic."
msgstr ""
"Data-drevet innsikt. Bedrifter trenger data utenfra for å få mer innsikt. "
"Bedrifter kan generere verdi, og mer effektivt følge sine egne mål når de "
"også åpner opp sine egne data. Store data er et hett tema."

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6384
msgid ""
"Open innovation. Many large-scale enterprises are aware they don’t innovate "
"very well. One way they can innovate is to open up their data. ODI "
"encourages them to do so even if it exposes problems and challenges. The key "
"is to invite other people to help while still maintaining organizational "
"autonomy."
msgstr ""
"Åpen nyskapning. Mange store bedrifter er klar over at de ikke innoverer "
"godt. En måte de kan skape noe nytt på er å åpne opp sine data. ODI "
"oppmuntrer dem til å gjøre det, selv om det viser problemer og utfordringer. "
"Nøkkelen er å invitere andre til å hjelpe, og samtidig opprettholde "
"organisatorisk uavhengighet."

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6393
msgid ""
"Corporate social responsibility. While this resonates with businesses, ODI "
"cautions against having it be the sole reason for making data open. If a "
"business is just thinking about open data as a way to be transparent and "
"accountable, they can miss out on efficiencies and opportunities."
msgstr ""
"Samfunnsansvar. Mens dette klinger for bedrifter, advarer ODI mot å ha det "
"som den eneste grunnen for å gjøre data åpne. Hvis en virksomhet bare tenker "
"åpne som en måte å være gjennomsiktig og ansvarlig på, kan de gå glipp av "
"effektivitet og muligheter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6402
msgid ""
"During their early years, ODI wanted to focus solely on the United Kingdom. "
"But in their first year, large delegations of government visitors from over "
"fifty countries wanted to learn more about the UK government’s open-data "
"practices and how ODI saw that translating into economic value. They were "
"contracted as a service provider to international governments, which "
"prompted a need to set up international ODI “nodes.”"
msgstr ""
"I sine tidlige år ønsket ODI å fokusere utelukkende på Storbritannia. Men i "
"sitt første år ønsket store delegasjoner fra regjeringer, fra over 50 land, "
"å lære mer om den britiske regjeringens åpen-datapraksis, og hvordan ODI så "
"den kunne omdannes til økonomiske verdier. De ble leid inn som en "
"tjenesteleverandør til internasjonale orgnisasjoner, som signaliserte et "
"behov for å sette opp internasjonale ODI «noder»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6411
msgid ""
"Nodes are franchises of the ODI at a regional or city level.  Hosted by "
"existing (for-profit or not-for-profit) organizations, they operate locally "
"but are part of the global network. Each ODI node adopts the charter, a set "
"of guiding principles and rules under which ODI operates. They develop and "
"deliver training, connect people and businesses through membership and "
"events, and communicate open-data stories from their part of the world. "
"There are twenty-seven different nodes across nineteen countries. ODI nodes "
"are charged a small fee to be part of the network and to use the brand."
msgstr ""
"Noder er linsensiering av ODI regionalt eller på bynivå.  Arrangert av "
"eksisterende (for-fortjeneste eller ideelle) organisasjoner, opererer de "
"lokalt, men er en del av det globale nettverket. Hver ODI-node vedtar et "
"charter, et sett med styrende prinsipper og regler som ODI driver. De "
"utvikler og leverer opplæring, kobler mennesker og virksomheter gjennom "
"medlemskap og arrangementer, og kommuniserer åpen-datahistorier fra sin del "
"av verden. Det er tjuesju ulike noder i nitten land. ODI-noder betaler en "
"liten avgift for å være en del av nettverket, og bruke varemerket."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6425
msgid ""
"<ulink url=\"http://theodi.org/odi-startup-programme\"/>; <ulink url="
"\"http://theodi.org/open-data-incubator-for-europe\"/>"
msgstr ""
"<ulink url=\"http://theodi.org/odi-startup-programme\"/>; <ulink url="
"\"http://theodi.org/open-data-incubator-for-europe\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6423
msgid ""
"ODI also runs programs to help start-ups in the UK and across Europe develop "
"a sustainable business around open data, offering mentoring, advice, "
"training, and even office space.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"ODI driver også programmer for å bistå grunderforetak i Storbritannia og "
"Europa for å utvikle bærekraftig virksomhet rundt åpne data, der de tilbyr "
"veiledning, gir råd,opplæring, og til og med skaffer kontorlokaler. <"
"placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6429
msgid ""
"A big part of ODI’s business model revolves around community building. "
"Memberships, training, summits, consulting services, nodes, and start-up "
"programs create an ever-growing network of open-data users and leaders. (In "
"fact, ODI even operates something called an Open Data Leaders Network.) For "
"ODI, community is key to success. They devote significant time and effort to "
"build it, not just online but through face-to-face events."
msgstr ""
"En stor del av ODIs forretningsmodell dreier seg om å bygge fellesskap. "
"Medlemskap, opplæring, konferanser, konsulenttjenester, noder og "
"oppstartsprogrammer oppretter et stadig voksende nettverk av åpne-"
"databrukere og -ledere. (Faktisk har ODI selv noe som kalles Open Data "
"Leaders Network.) For ODI er fellesskapet nøkkelen til suksess. De vier mye "
"tid og krefter til å bygge det ut, ikke bare på Internett, men gjennom det "
"som skjer ansikt til ansikt."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6443
msgid "<ulink url=\"http://certificates.theodi.org\"/>"
msgstr "<ulink url=\"http://certificates.theodi.org\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6438
msgid ""
"ODI has created an online tool that organizations can use to assess the "
"legal, practical, technical, and social aspects of their open data. If it is "
"of high quality, the organization can earn ODI’s Open Data Certificate, a "
"globally recognized mark that signals that their open data is useful, "
"reliable, accessible, discoverable, and supported.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"ODI har laget et nettbasert verktøy som organisasjoner kan bruke til å "
"vurdere de juridiske, praktiske, tekniske og sosiale aspektene av deres åpne "
"data. Hvis det er av høy kvalitet, kan organisasjonen oppnå ODIs Open Data "
"Certificate, et globalt anerkjent merke som signaliserer at deres åpne data "
"er nyttige, pålitelige, tilgjengelige, synlige og støttet. <placeholder type="
"\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6446
msgid ""
"Separate from commercial activities, the ODI generates funding through "
"research grants. Research includes looking at evidence on the impact of open "
"data, development of open-data tools and standards, and how to deploy open "
"data at scale."
msgstr ""
"Atskilt fra kommersielle aktiviteter, genererer ODI finansiering med "
"forskningsmidler. Forskning omfatter å dokumentere  virkningen av åpne data, "
"å utvikle åpne-dataverktøy og standarder, og hvordan du skalerer opp "
"utplasseringen av åpne data."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6452
msgid ""
"Creative Commons 4.0 licenses cover database rights and ODI recommends CC "
"BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data "
"to use Creative Commons licenses rather than creating new “open licenses” of "
"their own."
msgstr ""
"Creative Commons 4.0-lisenser dekker databaserettigheter, og ODI anbefaler "
"CC BY, CC BY-SA, og CC0 for datautgivelser. ODI oppfordrer utgivere av data "
"å bruke Creative Commons-lisenser i stedet for å opprette nye egne «åpne "
"lisenser»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6458
msgid ""
"For ODI, open is at the heart of what they do. They also release any "
"software code they produce under open-source-software licenses, and "
"publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is "
"to connect and equip people around the world so they can innovate with data. "
"Disseminating stories, research, guidance, and code under an open license is "
"essential for achieving that mission. It also demonstrates that it is "
"perfectly possible to generate sustainable revenue streams that do not rely "
"on restrictive licensing of content, data, or code.  People pay to have ODI "
"experts provide training to them, not for the content of the training; "
"people pay for the advice ODI gives them, not for the methodologies they "
"use. Producing open content, data, and source code helps establish "
"credibility and creates leads for the paid services that they offer. "
"According to Jeni, “The biggest lesson we have learned is that it is "
"completely possible to be open, get customers, and make money.”"
msgstr ""
"For ODI er åpen kjernen i det de gjør. De legger også ut enhver "
"programvarekode de produserer med åpen kildekode programvarelisenser (open-"
"source-software licenses), og publikasjoner og rapporter er under CC BY "
"eller CC BY-SA-lisenser. ODIs oppgave er å koble sammen og utstyre folk "
"verden over slik at de kan skape noe nytt med data. Å spre historier, "
"forskning, veiledning og kode med åpne lisenser er avgjørende for å klare "
"den oppgaven. Det viser også at det er fullt mulig å generere bærekraftige "
"inntektsstrømmer som avhengig av restriktiv lisensiering av innhold, data "
"eller kode. Folk betaler for å få opplæring av ODI-eksperter, ikke for "
"innholdet av opplæringen; folk betaler for råd ODI gir dem, ikke for "
"metodikken de bruker. Å produsere åpent innhold, data og kildekode hjelper "
"til med å etablere troverdighet, og fører videre til de betalte tjenestene "
"de tilbyr. Ifølge Jeni er «den største lærdommen vi har fått, er at det er "
"fullt ut  mulig å være åpen, få kunder og tjene penger»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6476
msgid ""
"To serve as evidence of a successful open business model and return on "
"investment, ODI has a public dashboard of key performance indicators. Here "
"are a few metrics as of April 27, 2016:"
msgstr ""
"For å tjene som bevis for en vellykket åpen forretningsmodell og avkastning "
"på investeringer, har ODI et offentlig skjermbilde med nøkkelindikatorer for "
"leveranse. Her er noen beregninger fra 27. April 2016:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6484
msgid ""
"Total amount of cash investments unlocked in direct investments in ODI, "
"competition funding, direct contracts, and partnerships, and income that ODI "
"nodes and ODI start-ups have generated since joining the ODI program: £44.5 "
"million"
msgstr ""
"Totalsummen kontantinvesteringer åpnet opp som direkte investeringer i ODI, "
"konkurransefinansiering, direkte kontrakter, partnerskap og inntekt som ODI-"
"noder og ODI-oppstart har generert siden de ble med i ODI-programmet: £ 44,5 "
"millioner (pund)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6492
msgid "Total number of active members and nodes across the globe: 1,350"
msgstr "Antall aktive medlemmer og noder over hele verden: 1350"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6498
msgid "Total sales since ODI began: £7.44 million"
msgstr "Totalt salg siden ODI startet: £ 7.44 millioner (pund)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6503
msgid ""
"Total number of unique people reached since ODI began, in person and online: "
"2.2 million"
msgstr ""
"Totalt antall unike personer nådd siden ODI startet, personlig og på nettet: "
"2,2 millioner"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6509
msgid "Total Open Data Certificates created: 151,000"
msgstr "Totalt antall åpne datasertifikater opprettet: 151 000"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6515
msgid "<ulink url=\"http://dashboards.theodi.org/company/all\"/>"
msgstr "<ulink url=\"http://dashboards.theodi.org/company/all\"/>"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6514
msgid ""
"Total number of people trained by ODI and its nodes since ODI began: "
"5,080<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Totalt antall personer trent av ODI og nodene siden ODI startet: 5 080<"
"placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6521
msgid "OpenDesk"
msgstr "OpenDesk"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6524
msgid ""
"Opendesk is a for-profit company offering an online platform that connects "
"furniture designers around the world with customers and local makers who "
"bring the designs to life.  Founded in 2014 in the UK."
msgstr ""
"Opendesk er et inntektsbasert selskap som tilbyr en nettplattform som kobler "
"sammen møbeldesignere verden over med kunder og lokale beslutningstakere som "
"virkeliggjør designene.  Grunnlagt i 2014 i Storbritannia."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6530
msgid "<ulink url=\"http://www.opendesk.cc\"/>"
msgstr "<ulink url=\"http://www.opendesk.cc\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6532
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8947
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging a transaction "
"fee"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling med et "
"transaksjonsgebyr"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6535
msgid "<emphasis role=\"strong\">Interview date</emphasis>: November 4, 2015"
msgstr "<emphasis role=\"strong\"> Intervjudato</emphasis>: 4. november 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6538
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Nick Ierodiaconou and "
"Joni Steiner, cofounders"
msgstr ""
"<emphasis role=\"strong\"> Intervjuet</emphasis>: Nick Ierodiaconou og Joni "
"Steiner, medgrunnleggere"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6546
msgid ""
"Opendesk is an online platform that connects furniture designers around the "
"world not just with customers but also with local registered makers who "
"bring the designs to life. Opendesk and the designer receive a portion of "
"every sale that is made by a maker."
msgstr ""
"Opendesk er en nettplattform som kobler møbeldesignere verden over ikke bare "
"med kunder, men også med lokale registrerte produsenter som bringer "
"designene til liv. Opendesk og designeren får en del av hvert salg fra "
"produsentene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6552
msgid ""
"Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as "
"architects together. They also made goods. Their first client was Mint "
"Digital, who had an interest in open licensing. Nick and Joni were exploring "
"digital fabrication, and Mint’s interest in open licensing got them to "
"thinking how the open-source world may interact and apply to physical goods. "
"They sought to design something for their client that was also reproducible. "
"As they put it, they decided to “ship the recipe, but not the goods.” They "
"created the design using software, put it under an open license, and had it "
"manufactured locally near the client. This was the start of the idea for "
"Opendesk. The idea for Wikihouse—another open project dedicated to "
"accessible housing for all—started as discussions around the same table. The "
"two projects ultimately went on separate paths, with Wikihouse becoming a "
"nonprofit foundation and Opendesk a for-profit company."
msgstr ""
"Medgrunnlegger Nick Ierodiaconou og Joni Steiner studerte og arbeidet sammen "
"som arkitekter. De laget også produkter. Den første klienten deres var Mint "
"Digital, som hadde en interesse for åpne lisenser. Nick og Joni utforsket "
"digital fabrikasjon, og Mints interesse for åpen lisensiering fikk dem til å "
"tenke på hvordan den åpne kildekodeverdenen kan samhandle og gjelde fysiske "
"varer. De forsøkte å designe noe for sin klient som også var reproduserbart. "
"Som de sa, besluttet de å «sende oppskriften, men ikke varer». De skapte "
"design som bruker programvare, satt dette under en åpen lisens, og fikk den "
"produsert lokalt nær klienten. Dette var starten på ideen om Opendesk. Ideen "
"til Wikihouse – et annet åpent prosjekt som var rettet mot å gjøre bolig  "
"tilgjengelig bolig for alle – startet som diskusjoner rundt bordet. De to "
"prosjektene gikk til slutt separate veier, Wikihouse ble ideelt,  og "
"Opendesk et foretak basert på inntekter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6569
msgid ""
"When Nick and Joni set out to create Opendesk, there were a lot of questions "
"about the viability of distributed manufacturing. No one was doing it in a "
"way that was even close to realistic or competitive. The design community "
"had the intent, but fulfilling this vision was still a long way away."
msgstr ""
"Da Nick og Joni startet arbeidet med å opprette Opendesk, var det mange "
"spørsmål om distribuert produksjon hadde livets rett. Ingen gjorde det på en "
"måte som engang var nær å være realistisk eller konkurransedyktig. "
"Designfellesskapet hadde intensjonen, men å oppfylle denne visjonen var "
"fortsatt langt unna."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6576
msgid ""
"And now this sector is emerging, and Nick and Joni are highly interested in "
"the commercialization aspects of it. As part of coming up with a business "
"model, they began investigating intellectual property and licensing options. "
"It was a thorny space, especially for designs. Just what aspect of a design "
"is copyrightable? What is patentable? How can allowing for digital sharing "
"and distribution be balanced against the designer’s desire to still hold "
"ownership? In the end, they decided there was no need to reinvent the wheel "
"and settled on using Creative Commons."
msgstr ""
"Og nå vokser denne sektoren, og Nick og Joni er svært interessert i "
"kommersialiseringsaspektene ved den. Som en del av å finne en "
"forretningsmodell, begynte de å undersøke immaterielle rettigheter og "
"alternativer for lisensiering. Det var et tornefullt område, spesielt for "
"design. Akkurat hvilke deler av et design er det mulig å åndsverkbeskytte? "
"Hva er patenterbart? Hvordan kan tillatelse for digital deling og "
"distribusjon veies mot designerens ønske om å fortsatt beholde eierskap? Til "
"slutt bestemte de at det ikke var nødvendig å gjenoppfinne hjulet, og "
"avgjorde å bruke Creative Commons."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6587
msgid ""
"When designing the Opendesk system, they had two goals. They wanted anyone, "
"anywhere in the world, to be able to download designs so that they could be "
"made locally, and they wanted a viable model that benefited designers when "
"their designs were sold. Coming up with a business model was going to be "
"complex."
msgstr ""
"Da de utformet Opendesk-systemet, hadde de to mål. De ønsket at alle, hvor "
"som helst i verden, skulle kunne laste ned design slik at det kunne gjøres "
"lokalt, og de ønsket en levedyktig modell som var til fordel for designere "
"når deres design ble solgt. Det viste seg å være komplekst å kommer opp med "
"en forretningsmodell."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6594
msgid ""
"They gave a lot of thought to three angles—the potential for social sharing, "
"allowing designers to choose their license, and the impact these choices "
"would have on the business model."
msgstr ""
"De brukte mye tankvirksomhet i tre retninger; potensialet for sosial deling, "
"å tillate designere å velge sin lisens, og effekten disse valgene ville ha "
"på forretningsmodellen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6599
msgid ""
"In support of social sharing, Opendesk actively advocates for (but doesn’t "
"demand) open licensing. And Nick and Joni are agnostic about which Creative "
"Commons license is used; it’s up to the designer. They can be proprietary or "
"choose from the full suite of Creative Commons licenses, deciding for "
"themselves how open or closed they want to be."
msgstr ""
"I støtten for sosiale deling, argumenterte Opendesk aktivt for (men krever "
"ikke) åpen lisensiering. Og Nick og Joni er bryr seg ikke om hvilken "
"Creative Commons-lisens som brukes. Det er opp til designeren. De kan være "
"proprietære eller valgt fra hele pakken med Creative Commons-lisenser, og "
"selv bestemme seg for hvor åpen eller lukket de ønsker å være."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6610
msgid "<ulink url=\"http://www.opendesk.cc/designers\"/>"
msgstr "<ulink url=\"http://www.opendesk.cc/designers\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6607
msgid ""
"For the most part, designers love the idea of sharing content.  They "
"understand that you get positive feedback when you’re attributed, what Nick "
"and Joni called “reputational glow.” And Opendesk does an awesome job "
"profiling the designers.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"For det meste elsker designere tanken på å dele innhold.  De forstår at du "
"får positive tilbakemeldinger når du er referert til, hva Nick og Joni kalte "
"«omdømme-glød». Og Opendesk gjør en fantastisk jobb med å profilere "
"designere.<placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6613
msgid ""
"While designers are largely OK with personal sharing, there is a concern "
"that someone will take the design and manufacture the furniture in bulk, "
"with the designer not getting any benefits. So most Opendesk designers "
"choose the Attribution-NonCommercial license (CC BY-NC)."
msgstr ""
"Mens designere i hovedsak synes personlig deling er greit, er det et problem "
"at noen tar design og produksjon av møbler i bulk, mens designeren ikke "
"sitter igjen med noen fordeler. Så de fleste Opendesk-designere velger "
"Attribution-NonCommercial-lisensen (CC BY-NC)."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6620
msgid ""
"Anyone can download a design and make it themselves, provided it’s for "
"noncommercial use — and there have been many, many downloads.  Or users can "
"buy the product from Opendesk, or from a registered maker in Opendesk’s "
"network, for on-demand personal fabrication.  The network of Opendesk makers "
"currently is made up of those who do digital fabrication using a computer-"
"controlled CNC (Computer Numeric Control) machining device that cuts shapes "
"out of wooden sheets according to the specifications in the design file."
msgstr ""
"Alle kan laste ned et design og lage produktet selv, forutsatt at det ikke "
"er for kommersielt bruk, og det har vært mange nedlastinger. Eller brukere "
"kan kjøpe produktet fra Opendesk, eller fra en registrert produsent i "
"Opendesks nettverk, på forespørsel.  Nettverket av Opendesks produsenter "
"består i dag både av dem som benytter digital fabrikasjon med en datastyrt "
"CNC-maskin (Computer Numeric Control) som lager former av treplater etter "
"spesifikasjonene i designfilen."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6637
msgid "<ulink url=\"http://www.opendesk.cc/open-making/makers/\"/>"
msgstr "<ulink url=\"http://www.opendesk.cc/open-making/makers/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6630
msgid ""
"Makers benefit from being part of Opendesk’s network. Making furniture for "
"local customers is paid work, and Opendesk generates business for them. Joni "
"said, “Finding a whole network and community of makers was pretty easy "
"because we built a site where people could write in about their "
"capabilities. Building the community by learning from the maker community is "
"how we have moved forward.” Opendesk now has relationships with hundreds of "
"makers in countries all around the world.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""
"Produsenter har nytte av å være en del av Opendesks nettverk. Å lage møbler "
"for lokale kunder er betalt arbeid, og Opendesk gir virksomhet for dem. Joni "
"sa: «Å finne et helt nettverk og et fellesskap av produsenter var ganske "
"enkelt fordi vi bygget en hjemmeside hvor folk kan skrive om hva de kan "
"gjøre. Byggingen av fellesskapet ved å gå fremover har skjedd ved å lære av "
"produsentfellesskapet». Opendesk har nå samarbeid med hundrevis av "
"produsenter i land over hele verden. <placeholder type=\"footnote\" id=\"0\""
"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6640
msgid ""
"The makers are a critical part of the Opendesk business model.  Their model "
"builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s "
"website:"
msgstr ""
"Produsentene er en viktig del av Opendesks forretningsmodell.  Modellen "
"deres bygger på sitater fra produsentene. Her er hvordan det vises på "
"Opendesks nettsted:"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6645
msgid ""
"When customers buy an Opendesk product directly from a registered maker, "
"they pay:"
msgstr ""
"Når kundene kjøper et Opendesk-produkt direkte fra en registrert produsent, "
"betaler de:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6651
msgid ""
"the manufacturing cost as set by the maker (this covers material and labour "
"costs for the product to be manufactured and any extra assembly costs "
"charged by the maker)"
msgstr ""
"Produksjonskostnadene som angitt av produsenten (som dekker materiale og "
"lønnskostnader slik at produktet kan bli produsert, og mulige ekstra "
"monteringskostnader)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6658
msgid ""
"a design fee for the designer (a design fee that is paid to the designer "
"every time their design is used)"
msgstr ""
"en designavgift til designeren (en designavgift som betales til designeren "
"hver gang designet deres brukes)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6664
msgid ""
"a percentage fee to the Opendesk platform (this supports the infrastructure "
"and ongoing development of the platform that helps us build out our "
"marketplace)"
msgstr ""
"en prosentsats avgift til Opendesk-plattformen (den støtter infrastrukturen "
"og den kontinuerlige utviklingen av plattformen som trengs for å bygge ut "
"markedsplassen vår)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6671
msgid ""
"a percentage fee to the channel through which the sale is made (at the "
"moment this is Opendesk, but in the future we aim to open this up to third-"
"party sellers who can sell Opendesk products through their own channels—this "
"covers sales and marketing fees for the relevant channel)"
msgstr ""
"en prosentsats til kanalen der salget er gjort (for øyeblikket er dette "
"Opendesk, men i fremtiden ønsker vi å åpne denne opp for tredjeparts selgere "
"som kan selge Opendesk-produkter gjennom egne kanaler. Dette dekker salgs- "
"og markedsføringsavgifter for den kanalen det gjelder)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6680
msgid ""
"a local delivery service charge (the delivery is typically charged by the "
"maker, but in some cases may be paid to a third-party delivery partner)"
msgstr ""
"en lokal leveransekostand (levering er vanligvis belastet fra produsenten, "
"men i noen tilfeller kan den bli betalt til en tredjepart som står for "
"leveringen)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6687
msgid ""
"charges for any additional services the customer chooses, such as on-site "
"assembly (additional services are discretionary—in many cases makers will be "
"happy to quote for assembly on-site and designers may offer bespoke design "
"options)"
msgstr ""
"kostnader for eventuelle tilleggstjenester kunden velger, som montering på "
"stedet (tilleggstjenester er skjønnsmessige – i mange tilfeller vil "
"produsentene gjerne ha med montering på stedet og designere kan tilby "
"skreddersydde designvalg)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6696
msgid "<ulink url=\"http://www.opendesk.cc/open-making/join\"/>"
msgstr "<ulink url=\"http://www.opendesk.cc/open-making/join\"/>"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6695
msgid ""
"local sales taxes (variable by customer and maker location)<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""
"lokale merverdiavgifter (avhengig av hvor kunden og produsenten er)<"
"placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6701
msgid "They then go into detail how makers’ quotes are created:"
msgstr "De går så i detalj om hvordan produsentens tilbud settes sammen:"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6704
msgid ""
"When a customer wants to buy an Opendesk . . . they are provided with a "
"transparent breakdown of fees including the manufacturing cost, design fee, "
"Opendesk platform fee and channel fees. If a customer opts to buy by getting "
"in touch directly with a registered local maker using a downloaded Opendesk "
"file, the maker is responsible for ensuring the design fee, Opendesk "
"platform fee and channel fees are included in any quote at the time of "
"sale.  Percentage fees are always based on the underlying manufacturing cost "
"and are typically apportioned as follows:"
msgstr ""
"Når en kunde ønsker å kjøpe en Opendesk, får de et åpent oppsett av avgifter "
"inkludert produksjonskostnadene, designgebyr, Opendesk-plattformavgift og "
"kanalavgifter. Hvis en kunde velger å kjøpe ved å komme i direkte kontakt "
"med en registrert lokal produsent som bruker en nedlastet Opendesk-fil, er "
"produsenten ansvarlig for at designgebyret, Opendesks plattformavgift og "
"kanalavgifter er inkludert i alle tilbud på salgstidspunktet.  "
"Prosentavgifter er alltid basert på de underliggende produksjonskostnadene, "
"og er vanligvis fordelt som følger:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6717
msgid ""
"manufacturing cost: fabrication, finishing and any other costs as set by the "
"maker (excluding any services like delivery or on-site assembly)"
msgstr ""
"produksjonskostnader: fabrikasjon, etterbehandling, og andre kostnader som "
"angitt av produsenten (unntatt eventuelle tjenester som levering eller "
"montering på stedet)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6724
msgid "design fee: 8 percent of the manufacturing cost"
msgstr "designavgift: 8 prosent av produksjonskostnadene"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6729
msgid "platform fee: 12 percent of the manufacturing cost"
msgstr "plattformavgift: 12 prosent av produksjonskostnadene"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6734
msgid "channel fee: 18 percent of the manufacturing cost"
msgstr "kanalavgift: 18 prosent av produksjonskostnadene"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6739
msgid "sales tax: as applicable (depends on product and location)"
msgstr ""
"merverdiavgift (mva.): gjeldende (avhenger av produkt og hvor salget skjer)"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6744
msgid ""
"Opendesk shares revenue with their community of designers.  According to "
"Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8 "
"percent is more generous, and providing a higher value to the designer."
msgstr ""
"Opendesk deler inntektene med fellesskapets designere. Ifølge Nick og Joni, "
"er en typisk designeravgift på rundt 2,5 prosent, så Opendesks 8 prosent er "
"mer generøs, og gir en høyere verdi til designeren."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6750
msgid ""
"The Opendesk website features stories of designers and makers.  Denis Fuzii "
"published the design for the Valovi Chair from his studio in São Paulo. His "
"designs have been downloaded over five thousand times in ninety-five "
"countries. I.J. CNC Services is Ian Jinks, a professional maker based in the "
"United Kingdom. Opendesk now makes up a large proportion of his business."
msgstr ""
"Opendesks nettsted har bakgrunnshistorier om designere og beslutningstakere. "
"Denis Fuzii publiserte design for Valovi Chair fra sitt studio i São Paulo. "
"Hans design er lastet ned over fem tusen ganger i nittifem land. I.J. CNC "
"Services er Ian Jinks, en profesjonell produsent med base i Storbritannia. "
"En stor andel av hans virksomhet kommer fra Opendesk."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6758
msgid ""
"To manage resources and remain effective, Opendesk has so far focused on a "
"very narrow niche—primarily office furniture of a certain simple aesthetic, "
"which uses only one type of material and one manufacturing technique. This "
"allows them to be more strategic and more disruptive in the market, by "
"getting things to market quickly with competitive prices. It also reflects "
"their vision of creating reproducible and functional pieces."
msgstr ""
"For å administrere ressurser og forbli effektiv har Opendesk så langt "
"fokusert på en svært smal nisje – hovedsakelig kontormøbler med en estetikk "
"preget av enkelhet, og som bruker bare én type materiale og én "
"produksjonsteknikk. Dette tillater dem å være mer strategiske, og gi mer "
"forstyrrelse i markedet ved å få ting i salg raskt med konkurransedyktige "
"priser. Det gjenspeiler også deres visjon om å skape reproduserbare og "
"funksjonelle produkter ."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6767
msgid ""
"On their website, Opendesk describes what they do as “open making”: "
"“Designers get a global distribution channel. Makers get profitable jobs and "
"new customers. You get designer products without the designer price tag, a "
"more social, eco-friendly alternative to mass-production and an affordable "
"way to buy custom-made products.”"
msgstr ""
"På sin hjemmeside beskriver Opendesk hva de gjør som «åpen produksjon»: «"
"Designere får en global distribusjonskanal. Produsenter får lønnsomme jobber "
"og nye kunder. Du får designprodukter uten designerprislapp, et mer sosialt "
"og miljøvennlig alternativ til masseproduksjon, og en rimelig måte å kjøpe "
"skreddersydde produkter på»."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6775
msgid ""
"Nick and Joni say that customers like the fact that the furniture has a "
"known provenance. People really like that their furniture was designed by a "
"certain international designer but was made by a maker in their local "
"community; it’s a great story to tell. It certainly sets apart Opendesk "
"furniture from the usual mass-produced items from a store."
msgstr ""
"Nick og Joni sier at kunder liker det faktum at møblene har et kjent opphav. "
"Folk liker at møblene deres er designet av en viss internasjonal designer, "
"men er laget av en produsent i lokalsamfunnet. Det er en fin historie å "
"fortelle. Den skiller absolutt Opendesks møbler fra vanlige masseproduserte "
"varer fra en butikk."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6788
msgid "<ulink url=\"http://openmaking.is\"/>"
msgstr "<ulink url=\"http://openmaking.is\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6783
msgid ""
"Nick and Joni are taking a community-based approach to define and evolve "
"Opendesk and the “open making” business model. They’re engaging thought "
"leaders and practitioners to define this new movement. They have a separate "
"Open Making site, which includes a manifesto, a field guide, and an "
"invitation to get involved in the Open Making community.<placeholder type="
"\"footnote\" id=\"0\"/> People can submit ideas and discuss the principles "
"and business practices they’d like to see used."
msgstr ""
"Nick og Joni har en fellesskapsbasert tilnærming til å definere og utvikle "
"Opendesk, og forretningsmodellen for «åpen produksjon». De er de "
"engasjerende strategene og utøverne som kjennetegner denne nye bevegelsen. "
"De har et eget Open Making-nettsted, som omfatter et manifest, en "
"feltveiledning og en invitasjon til å bli involvert i Open Making-"
"fellesskapet.<placeholder type=\"footnote\" id=\"0\"/> Folk kan sende inn "
"ideer og diskutere prinsipper og forretningspraksis de ønsker å se brukt.<"
"placeholder type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6792
msgid ""
"Nick and Joni talked a lot with us about intellectual property (IP) and "
"commercialization. Many of their designers fear the idea that someone could "
"take one of their design files and make and sell infinite number of pieces "
"of furniture with it. As a consequence, most Opendesk designers choose the "
"Attribution-NonCommercial license (CC BY-NC)."
msgstr ""
"Nick og Joni snakket mye med oss om åndsverk (Intellectual Property (IP)) og "
"kommersialisering. Mange av designerne deres frykter tanken på at noen "
"skulle ta en av deres design-filer, og lage og selge et uendelig antall "
"møbler med den. Som en konsekvens, velger de fleste Opendesk-designere "
"Attribution-NonCommercial lisensen (CC BY-NC)."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6800
msgid ""
"Opendesk established a set of principles for what their community considers "
"commercial and noncommercial use. Their website states:"
msgstr ""
"Opendesk etablerte et sett av prinsipper for hva fellesskapet vurderer som "
"kommersiell og ikke-kommersiell bruk. Deres hjemmeside fastslår:"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6804
msgid "It is unambiguously commercial use when anyone:"
msgstr "Det er en utvetydig kommersiell bruk når noen:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6809
msgid "charges a fee or makes a profit when making an Opendesk"
msgstr "krever en avgift eller får en fortjeneste når man lager en Opendesk"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6814
msgid "sells (or bases a commercial service on) an Opendesk"
msgstr "selger (eller baserer et kommersiell tjeneste på) en Opendesk"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6819
msgid ""
"It follows from this that noncommercial use is when you make an Opendesk "
"yourself, with no intention to gain commercial advantage or monetary "
"compensation. For example, these qualify as noncommercial:"
msgstr ""
"Det følger av dette at ikke-kommersiell bruk er når du lager et Opendesk-"
"produkt selv, uten å få wn kommersiell fordel eller en økonomisk "
"kompensasjon. For eksempel kvalifiserer disse som ikke-kommersielle:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6827
msgid ""
"you are an individual with your own CNC machine, or access to a shared CNC "
"machine, and will personally cut and make a few pieces of furniture yourself"
msgstr ""
"du er en med sin egen CNC maskin, eller har tilgang til en delt CNC-maskin, "
"og vil ersonlig kutte til og lage noen få møbler selv"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6834
msgid ""
"you are a student (or teacher) and you use the design files for educational "
"purposes or training (and do not intend to sell the resulting pieces)"
msgstr ""
"du er en student (eller lærer) og bruker design-filer til pedagogiske formål "
"eller opplæring (og ikke har tenkt å selge de som blir laget)"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6841
msgid ""
"you work for a charity and get furniture cut by volunteers, or by employees "
"at a fab lab or maker space"
msgstr ""
"du jobber ideelt og får møbler skåret ut av frivillige, eller av ansatte i "
"digitale verktøyrom, eller i åpne brukerrom"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6847
msgid ""
"Whether or not people technically are doing things that implicate IP, Nick "
"and Joni have found that people tend to comply with the wishes of creators "
"out of a sense of fairness. They have found that behavioral economics can "
"replace some of the thorny legal issues. In their business model, Nick and "
"Joni are trying to suspend the focus on IP and build an open business model "
"that works for all stakeholders—designers, channels, manufacturers, and "
"customers. For them, the value Opendesk generates hangs off “open,” not IP."
msgstr ""
"Hvorvidt eller ikke folk teknisk gjør ting som impliserer IP, har Nick og "
"Joni funnet at folk har en tendens til å etterkomme ønskene til "
"bidragsyterne ut fra en følelse av rettferdighet. De har funnet ut at "
"atferdsøkonomi kan erstatte noen av de vanskelige juridiske spørsmålene. I "
"sin forretningsmodell, prøver Nick og Joni å flytte fokuset på IP og bygge "
"en åpen forretningsmodell som fungerer for alle interessenter - designere, "
"kanaler, produsenter og forbrukere. For dem ligger verdien Opendesk skaper i "
"\"åpne,\" ikke i IP."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6858
msgid ""
"The mission of Opendesk is about relocalizing manufacturing, which changes "
"the way we think about how goods are made.  Commercialization is integral to "
"their mission, and they’ve begun to focus on success metrics that track how "
"many makers and designers are engaged through Opendesk in revenue-making "
"work."
msgstr ""
"Oppgaven til Opendesk er å relokalisere produksjonen, noe som endrer måten "
"vi tenker på om hvordan varer blir laget.  Kommersialisering er integrert i "
"formålet deres, og de har startet beregningen av hvor vellykket det er, ved "
"spore hvor mange produsenter og designere som får inntektsgivende arbeid "
"gjennom Opendesk."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6865
msgid ""
"As a global platform for local making, Opendesk’s business model has been "
"built on honesty, transparency, and inclusivity. As Nick and Joni describe "
"it, they put ideas out there that get traction and then have faith in people."
msgstr ""
"Som en global plattform for å produsere lokalt, har Opendesks "
"forretningsmodell vært bygd på ærlighet, åpenhet og inkludering. Som Nick og "
"Joni beskriver det, legger de ut ideer som får trekkraft, - og deretter "
"stoler de på folk."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6872
msgid "OpenStax"
msgstr "OpenStax"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6875
msgid ""
"OpenStax is a nonprofit that provides free, openly licensed textbooks for "
"high-enrollment introductory college courses and Advanced Placement courses. "
"Founded in 2012 in the U.S."
msgstr ""
"OpenStax er en ideell organisasjon som gir gratis, åpent lisensierte "
"lærebøker for innledende college kurs med mange innregistrerte, og  Advanced "
"Placement-kurs. Grunnlagt i 2012 i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6880
msgid "<ulink url=\"http://www.openstaxcollege.org\"/>"
msgstr "<ulink url=\"http://www.openstaxcollege.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6882
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grant funding, charging "
"for custom services, charging for physical copies (textbook sales)"
msgstr ""
"<emphasis role=\"strong\">Inntjeningsmodell</emphasis>: "
"Donasjonfinansiering, betaling for tilpassede tjenester, betaling for "
"fysiske kopier (læreboksalg)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6886
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 16, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 16 desember 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6889
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: David Harris, editor-in-"
"chief"
msgstr ""
"<emphasis role=\"strong\"> Intervjuet</emphasis>: David Harris, sjefsredaktør"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6897
msgid ""
"OpenStax is an extension of a program called Connexions, which was started "
"in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of "
"Electrical and Computer Engineering at Rice University in Houston, Texas. "
"Frustrated by the limitations of traditional textbooks and courses, Dr. "
"Baraniuk wanted to provide authors and learners a way to share and freely "
"adapt educational materials such as courses, books, and reports. Today, "
"Connexions (now called OpenStax CNX) is one of the world’s best libraries of "
"customizable educational materials, all licensed with Creative Commons and "
"available to anyone, anywhere, anytime—for free."
msgstr ""
"OpenStax er en utvidelse av et program kalt Connexions, som ble startet i "
"1999 av dr. Richard Baraniuk, Victor E. Cameron, professor i elektonikk og "
"datavitenskap ved Rice University i Houston, Texas. Frustrert av "
"begrensningene til tradisjonelle lærebøker og kurs, ønsker dr. Baraniuk å gi "
"forfattere og elever en måte å dele og fritt tilpasse pedagogisk materiell "
"så som kurs, bøker og rapporter. I dag Connexions (nå kalt OpenStax CNX) er "
"en av verdens beste biblioteker med tilpassbare læremidler, alle lisensiert "
"med Creative Commons og tilgjengelig til alle, hvor som helst, når som helst "
"- gratis."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6909
msgid ""
"In 2008, while in a senior leadership role at WebAssign and looking at ways "
"to reduce the risk that came with relying on publishers, David Harris began "
"investigating open educational resources (OER) and discovered Connexions. A "
"year and a half later, Connexions received a grant to help grow the use of "
"OER so that it could meet the needs of students who couldn’t afford "
"textbooks. David came on board to spearhead this effort.  Connexions became "
"OpenStax CNX; the program to create open textbooks became OpenStax College, "
"now simply called OpenStax."
msgstr ""
"I 2008, i en topplederrolle på WebAssign mens han så på måter å redusere "
"risikoen som fulgte med å stole på utgivere, begynte David Harris å "
"undersøke åpne pedagogiske ressurser (OER) og oppdaget Connexions. Et og et "
"halvt år senere mottok Connexions mottatt en donasjon for å øke bruken av "
"OER slik at det kan oppfylle behovene til elever som ikke hadde råd "
"lærebøker. David gikk ombord for på være å spydspiss i dette arbeidet. "
"Connexions ble OpenStax CNX; Oppgaven å lage åpne lærebøker ble OpenStax "
"College, nå ganske enkelt kalt OpenStax."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6920
msgid ""
"David brought with him a deep understanding of the best practices of "
"publishing along with where publishers have inefficiencies. In David’s view, "
"peer review and high standards for quality are critically important if you "
"want to scale easily. Books have to have logical scope and sequence, they "
"have to exist as a whole and not in pieces, and they have to be easy to "
"find. The working hypothesis for the launch of OpenStax was to "
"professionally produce a turnkey textbook by investing effort up front, with "
"the expectation that this would lead to rapid growth through easy downstream "
"adoptions by faculty and students."
msgstr ""
"David hadde med seg en dyp forståelse av den beste praksisen for å "
"publisere, sammen med hvor  utgivere var ineffektivit. Etter Davids syn er "
"fagfellevurdering og høye standarder for kvalitet, kritisk viktig om du "
"enkelt vil skalere. Bøkene må ha en logisk innretning og rekkefølge, de må "
"eksistere som en helhet og ikke som stykker, og de må være lett å finne. "
"Arbeidsgruppe-hypotesen for lanseringen av OpenStax var å produsere en "
"nøkkelferdig lærebok profesjonelt, ved å investere i innsats først, med en "
"forventning om at dette ville føre til rask vekst gjennom enkel nedstrøms "
"tilpasninger av fakulteter og studenter."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6938
msgid ""
"<ulink url=\"http://news.rice.edu/files/2016/01/0119-"
"OPENSTAX-2016Infographic-lg-1tahxiu.jpg\"/>"
msgstr ""
"<ulink url=\"http://news.rice.edu/files/2016/01/0119-"
"OPENSTAX-2016Infographic-lg-1tahxiu.jpg\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6932
msgid ""
"In 2012, OpenStax College launched as a nonprofit with the aim of producing "
"high-quality, peer-reviewed full-color textbooks that would be available for "
"free for the twenty-five most heavily attended college courses in the "
"nation. Today they are fast approaching that number. There is data that "
"proves the success of their original hypothesis on how many students they "
"could help and how much money they could help save.<placeholder type="
"\"footnote\" id=\"0\"/> Professionally produced content scales rapidly. All "
"with no sales force!"
msgstr ""
"I 2012 ble OpenStax College lansert som en ideelt foretak med mål å "
"produsere høy kvalitets, fagfellevurderte fullfarge lærebøker som skulle "
"være tilgjengelig gratis for de ti mest benyttede collegekursene i landet. I "
"dag nærmer de seg raskt nærmer seg dette antallet. Det finnes data som "
"beviser suksessen til deres opprinnelige ansalg for hvor mange studenter de "
"kunne hjelpe, og hvor mye penger de kan hjelpe til med å få spart. "
"<placeholder type=\"footnote\" id=\"0\"/> Profesjonelt produsert innhold "
"skalerer raskt. Uten noen som sto for salget!"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6942
msgid ""
"OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook "
"is available as a PDF, an e-book, or web pages. Those who want a physical "
"copy can buy one for an affordable price. Given the cost of education and "
"student debt in North America, free or very low-cost textbooks are very "
"appealing. OpenStax encourages students to talk to their professor and "
"librarians about these textbooks and to advocate for their use."
msgstr ""
"OpenStax lærebøker er alle Attribution (CC BY)-lisensiert, og hver lærebok "
"er tilgjengelig som PDF, e-bok, eller som websider. De som ønsker en fysisk "
"kopi kan kjøpe en til en overkommmelig pris. Gitt kostnaden for for "
"utdanning og studentbelåningen i Nord-Amerika, er lærebøker som gratis eller "
"svært rimelige svært attraktivt. OpenStax oppfordrer studenter til å snakke "
"med sine professor og bibliotekarer om disse lærebøker og argumentere for at "
"de blir brukt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6951
msgid ""
"Teachers are invited to try out a single chapter from one of the textbooks "
"with students. If that goes well, they’re encouraged to adopt the entire "
"book. They can simply paste a URL into their course syllabus, for free and "
"unlimited access. And with the CC BY license, teachers are free to delete "
"chapters, make changes, and customize any book to fit their needs."
msgstr ""
"Lærere inviteres til å prøve ut ett enkelt kapittel fra en av lærebøker med "
"studentene. Hvis det går bra, blir de oppfordret til å ta i bruk hele boken. "
"De kan bare lime inn en URL-adresse i deres kurspensumet for fri og "
"ubegrenset tilgang. Med kopi av CC BY-lisensen, står lærerne fritt til å "
"sløyfe kapitler, lage endringer, og tilpasse hvilken som helst bok til deres "
"behov."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6959
msgid ""
"Any teacher can post corrections, suggest examples for difficult concepts, "
"or volunteer as an editor or author. As many teachers also want supplemental "
"material to accompany a textbook, OpenStax also provides slide "
"presentations, test banks, answer keys, and so on."
msgstr ""
"Noen lærere kan poste korrigeringer, foreslå eksempler på vanskelige "
"begreper eller bli frivillig som redaktør eller forfatter. Mange lærere vil "
"også supplerende materiale som kan følge med en lærebok. OpenStax også "
"lysarkpresentasjoner, samlinger av tester, nøkler til svar, og så videre \n"
",og så videre."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6970
msgid "<ulink url=\"http://openstax.org/adopters\"/>"
msgstr "<ulink url=\"http://openstax.org/adopters\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6966
msgid ""
"Institutions can stand out by offering students a lower-cost education "
"through the use of OpenStax textbooks; there’s even a textbook-savings "
"calculator they can use to see how much students would save. OpenStax keeps "
"a running list of institutions that have adopted their textbooks."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Institusjoner kan fremheves ved å tilby studentene en rimeligere utdanning "
"gjennom bruk av OpenStax lærebøker; Det er enda en lærebok-sparekalkulator "
"som de kan bruke til å se hvor mye elevene ville spare. OpenStax holder en "
"løpende liste over institusjoner som har tatt sine lærebøker. <placeholder "
"type=\"footnote\" id=\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6973
msgid ""
"Unlike traditional publishers’ monolithic approach of controlling "
"intellectual property, distribution, and so many other aspects, OpenStax has "
"adopted a model that embraces open licensing and relies on an extensive "
"network of partners."
msgstr ""
"I motsetning til tradisjonelle utgivernes monolittiske tilnærming med å "
"kontrollere immateriell eiendomsrett, distribusjon, og så mange andre "
"aspekter, har OpenStax tatt i bruk en modell med åpen lisensiering og et "
"omfattende nettverk av samarbeidspartnere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6979
msgid ""
"Up-front funding of a professionally produced all-color turnkey textbook is "
"expensive. For this part of their model, OpenStax relies on philanthropy. "
"They have initially been funded by the William and Flora Hewlett Foundation, "
"the Laura and John Arnold Foundation, the Bill and Melinda Gates Foundation, "
"the 20 Million Minds Foundation, the Maxfield Foundation, the Calvin K. "
"Kazanjian Foundation, and Rice University. To develop additional titles and "
"supporting technology is probably still going to require philanthropic "
"investment."
msgstr ""
"Up-front finansiering av en profesjonelt produserte alle farger "
"nøkkelferdige lærebok er dyrt. For denne delen av deres modell avhengig "
"OpenStax av filantropi. De har utgangspunktet vært finansiert av Vilhelm og "
"Flora Hewlett Foundation, av Laura og John Arnold Foundation, Bill og "
"Melinda Gates Foundation, de 20 Million sinn Foundation, Maxfield "
"grunnlaget, Calvin K. Kazanjian Foundation og ris Universitetet. Å utvikle "
"flere titler og støttende teknologi er trolig fortsatt kommer til å kreve "
"filantropisk investering."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6990
msgid ""
"However, ongoing operations will not rely on foundation grants but instead "
"on funds received through an ecosystem of over forty partners, whereby a "
"partner takes core content from OpenStax and adds features that it can "
"create revenue from. For example, WebAssign, an online homework and "
"assessment tool, takes the physics book and adds algorithmically generated "
"physics problems, with problem-specific feedback, detailed solutions, and "
"tutorial support. WebAssign resources are available to students for a fee."
msgstr ""
"Men pågående arbeid vil ikke lene seg på donasjoner operasjoner, men i "
"stedet på inntekter via et økosystem av over 40 partnere, der en partner kan "
"tar kjerneinnhold fra OpenStax og legger til funksjoner som den kan skape "
"inntekter fra. For eksempel tar WebAssign, et online lekse- og "
"vurderingverktøy, den fysiske boken og legger til algoritmegenererte "
"fysikkproblemer med problemet-spesifikke tilbakemeldinger, detaljerte "
"løsninger og opplæringstøtte. Mot et gebyr er WebAssigns ressurser er "
"tilgjengelige for studenter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7000
msgid ""
"Another example is Odigia, who has turned OpenStax books into interactive "
"learning experiences and created additional tools to measure and promote "
"student engagement. Odigia licenses its learning platform to institutions. "
"Partners like Odigia and WebAssign give a percentage of the revenue they "
"earn back to OpenStax, as mission-support fees. OpenStax has already "
"published revisions of their titles, such as Introduction to Sociology 2e, "
"using these funds."
msgstr ""
"Et annet eksempel er Odigia, som har endret OpenStax bøker til interaktive "
"læringserfaringer og laget flere verktøy for å måle og fremme "
"studentengasjement. Odigia lisensierer sin læringsplattform til "
"institusjoner. Partnere som Odigia og WebAssign gir en prosentandel av "
"inntektene de tjener tilbake til OpenStax, som avgifter til å støtte Odigas "
"formål. OpenStax har allerede publisert revisjoner av sine titler, slik som "
"Introduction to Sociology 2e, der disse midlene er brukt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7010
msgid ""
"In David’s view, this approach lets the market operate at peak efficiency. "
"OpenStax’s partners don’t have to worry about developing textbook content, "
"freeing them up from those development costs and letting them focus on what "
"they do best.  With OpenStax textbooks available at no cost, they can "
"provide their services at a lower cost—not free, but still saving students "
"money. OpenStax benefits not only by receiving mission-support fees but "
"through free publicity and marketing. OpenStax doesn’t have a sales force; "
"partners are out there showcasing their materials."
msgstr ""
"-etter Davids syn tillater denne tilnærmingen at markedet kan operere med "
"topp effektivitet. Openstaxs partnere trenger ikke å bekymre deg for å "
"utvikle lærebokinnhold, for de frigjøres fra disse utviklingskostnadene ved "
"å la dem fokusere på hva de gjør best.  Med OpenStax lærebøker gratis "
"tilgjengelig, kan de tilby sine tjenester til lavere kostnad - ikke gratis, "
"men sparer fortsatt studentene for utgifter. OpenStax har ikke bare fordeler "
"bare ved å motta avgifter til støtte for sitt formål, men også ved gratis "
"publisitet og markedsføring. OpenStax har ingen salgsorganisasjon; partnerne "
"er der ute med sitt materiale som et utstillingsvindu."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7022
msgid ""
"OpenStax’s cost of sales to acquire a single student is very, very low and "
"is a fraction of what traditional players in the market face. This year, "
"Tyton Partners is actually evaluating the costs of sales for an OER effort "
"like OpenStax in comparison with incumbents. David looks forward to sharing "
"these findings with the community."
msgstr ""
"Openstaxs kostnad for å verve en enkelt student er veldig lav og er en "
"brøkdel av hva tradisjonelle aktører i markedet møter. I år er Tyton "
"Partners faktisk i gang med å vurdere kostnadene for salg av OER-er som "
"OpenStax med partnere. David ser frem til å dele disse funnene med "
"fellesskapet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7030
msgid ""
"While OpenStax books are available online for free, many students still want "
"a print copy. Through a partnership with a print and courier company, "
"OpenStax offers a complete solution that scales.  OpenStax sells tens of "
"thousands of print books. The price of an OpenStax sociology textbook is "
"about twenty-eight dollars, a fraction of what sociology textbooks usually "
"cost. OpenStax keeps the prices low but does aim to earn a small margin on "
"each book sold, which also contributes to ongoing operations."
msgstr ""
"Mens OpenStax-bøker er tilgjengelig på nettet gratis, vil mange studenter "
"fortsatt ønske en trykket utgave. Gjennom et partnerskap med en trykke- og "
"kurerselskap tilbyr OpenStax en komplett løsning som skalerer.  OpenStax "
"selger titusenvis av bøker. En OpenStax lærebok i sosiologikoster rundt "
"tjueåtte dollar, en brøkdel av hva sosiologilærebøker vanligvis koster. "
"OpenStax holder prisene lave, men har som mål å ha en liten margin på hver "
"solgte solgt, som også bidrar til den pågående virksomheten."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7040
msgid ""
"Campus-based bookstores are part of the OpenStax solution.  OpenStax "
"collaborates with NACSCORP (the National Association of College Stores "
"Corporation) to provide print versions of their textbooks in the stores. "
"While the overall cost of the textbook is significantly less than a "
"traditional textbook, bookstores can still make a profit on sales. Sometimes "
"students take the savings they have from the lower-priced book and use it to "
"buy other things in the bookstore. And OpenStax is trying to break the "
"expensive behavior of excessive returns by having a no-returns policy. This "
"is working well, since the sell-through of their print titles is virtually a "
"hundred percent."
msgstr ""
"Campus-baserte bokhandlere er del av det OpenStax løsningen. OpenStax "
"samarbeider med NACSCORP (National Association of College Stores "
"Corporation) om å gi ut versjoner av sine lærebøker til butikkene. Mens "
"totalkostnadene for læreboka er betydelig mindre enn en tradisjonell "
"lærebok, kan bokhandlere fortsatt få en fortjeneste på salg. Noen ganger "
"bruker studenter det de sparer på en rimeligere bok til å kjøpe andre ting i "
"bokhandelen. Og OpenStax prøver å bryte dyre virkemåten med et overdrevent "
"omfang av retur - ved å ha en ingen-retur politikk. Dette fungerer bra, "
"siden de trykte titlene deres tydeligvis selger ut nesten hundre prosent."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7053
msgid ""
"David thinks of the OpenStax model as “OER 2.0.” So what is OER 1.0? "
"Historically in the OER field, many OER initiatives have been locally funded "
"by institutions or government ministries. In David’s view, this results in "
"content that has high local value but is infrequently adopted nationally. "
"It’s therefore difficult to show payback over a time scale that is "
"reasonable."
msgstr ""
"David tenker på OpenStax modellen som \"OER 2.0.\" Så hva er OER 1.0? Ser en "
"historisk på OER, er mange OER initiativ lokalt finansiert av institusjoner "
"eller departementer. Etter Davids syn resulterer dette i innhold som har høy "
"lokal verdi, men vedtas sjelden nasjonalt. Det er derfor over tid vanskelig "
"å kunne vise en rimelig tilbakebetaling."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7061
msgid ""
"OER 2.0 is about OER intended to be used and adopted on a national level "
"right from the start. This requires a bigger investment up front but pays "
"off through wide geographic adoption. The OER 2.0 process for OpenStax "
"involves two development models. The first is what David calls the "
"acquisition model, where OpenStax purchases the rights from a publisher or "
"author for an already published book and then extensively revises it. The "
"OpenStax physics textbook, for example, was licensed from an author after "
"the publisher released the rights back to the authors. The second model is "
"to develop a book from scratch, a good example being their biology book."
msgstr ""
"OER 2.0 handler om OER skal blir brukt og vedtatt på nasjonalt nivå helt fra "
"starten. Dette krever en større investering i forkant, men lønner seg "
"gjennom bredere geografisk spredning. OER 2.0 prosessen for OpenStax "
"omfatter to utviklingsmodeller. Først er hva David Caller anskaffelsen av "
"modellen, der OpenStax kjøper rettigheter fra utgiver eller forfatter for en "
"allerede publisert bok og og med foretar en bred revisjon av den. OpenStax "
"fysikk-lærebok, for eksempel, ble lisensiert fra forfatter etter at "
"utgiveren ga tilbake  rettighetene til forfatterne. Den andre modellen er å "
"utvikle en bok fra bunnen av, et godt eksempel er deres biologibok."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7074
msgid ""
"The process is similar for both models. First they look at the scope and "
"sequence of existing textbooks. They ask questions like what does the "
"customer need? Where are students having challenges? Then they identify "
"potential authors and put them through a rigorous evaluation—only one in ten "
"authors make it through.  OpenStax selects a team of authors who come "
"together to develop a template for a chapter and collectively write the "
"first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do "
"books with just a single author as David says it risks the project going "
"longer than scheduled.) The draft is peer-reviewed with no less than three "
"reviewers per chapter. A second draft is generated, with artists producing "
"illustrations and visuals to go along with the text. The book is then "
"copyedited to ensure grammatical correctness and a singular voice. Finally, "
"it goes into production and through a final proofread. The whole process is "
"very time-consuming."
msgstr ""
"Prosessen likner for begge modeller. Først ser de på omfanget og sekvensen "
"til eksisterende lærebøker. De spør som hva trenger kunden? Hvor har "
"studenter utfordringer? Så identifiserer de potensielle forfattere, og har "
"en grundig evaluering, bare én av ti forfattere slipper igjennom. OpenStax "
"setter sammen et team av forfattere som kommer sammen for å utvikle en mal "
"for et kapittel og sammen skrive det første utkastet (eller reviderer det, i "
"oppkjøpsmodellen). (OpenStax lager ikke bøker med bare en enkelt forfatter, "
"ettersom David sier risikerer en da at prosjektet går lenger enn planlagt.) "
"Utkastet er fagfellevurdert med ikke mindre enn tre vurderinger av hvert "
"kapittel. Et utkast nummer to blir laget, med kunstnere som lager "
"illustrasjoner og bilder sammen med teksten. Boken blir er deretter redigert "
"jfor å sikre at den er grammatisk korrekt og med samme stemme. Til slutt går "
"den i produksjon og gjennom en endelig korrekturlesing. Hele prosessen er "
"svært tidkrevende."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7092
msgid ""
"All the people involved in this process are paid. OpenStax does not rely on "
"volunteers. Writers, reviewers, illustrators, and editors are all paid an up-"
"front fee—OpenStax does not use a royalty model. A best-selling author might "
"make more money under the traditional publishing model, but that is only "
"maybe 5 percent of all authors. From David’s perspective, 95 percent of all "
"authors do better under the OER 2.0 model, as there is no risk to them and "
"they earn all the money up front."
msgstr ""
"Alle involverte i denne prosessen får betalt. OpenStax stoler ikke på "
"frivillige. Forfattere, korrekturlesere, illustratører og redaktører får "
"alle betalt et forskuddshonorar. OpenStax bruker ikke en royalty-modell. En "
"bestselgende forfatter kan tjene mer penger med den tradisjonelle "
"publiseringsmodellen, men det gjelder kanskje bare 5 prosent av alle "
"forfattere. Fra Davids perspektiv, tjener 95 prosent av alle forfattere "
"bedre med OER 2.0-modellen, da det ikke noen  risiko for dem da pengene er "
"forhåndsbetalt."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7102
msgid ""
"David thinks of the Attribution license (CC BY) as the “innovation license.” "
"It’s core to the mission of OpenStax, letting people use their textbooks in "
"innovative ways without having to ask for permission. It frees up the whole "
"market and has been central to OpenStax being able to bring on partners. "
"OpenStax sees a lot of customization of their materials. By enabling "
"frictionless remixing, CC BY gives teachers control and academic freedom."
msgstr ""
"David tenker på Attribution licensen (CC BY) som \"innovasjonslisensen\". De "
"er sentralt for formålet med OpenStax, å la folk bruke lærebøkene deres i på "
"innovative måter uten å måtte spørre om tillatelse. Det frigjør hele "
"markedet har vært sentralt for at OpenStax skulle kunne få partnerne. "
"Materialet til OpenStax tilpasses mye. Ved å åpne for farksjonsfri remiksing "
"gir CC lærere kontroll og akademisk frihet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7111
msgid ""
"Using CC BY is also a good example of using strategies that traditional "
"publishers can’t. Traditional publishers rely on copyright to prevent others "
"from making copies and heavily invest in digital rights management to ensure "
"their books aren’t shared.  By using CC BY, OpenStax avoids having to deal "
"with digital rights management and its costs. OpenStax books can be copied "
"and shared over and over again. CC BY changes the rules of engagement and "
"takes advantage of traditional market inefficiencies."
msgstr ""
"Å bruke CC av er også et godt eksempel på strategier som tradisjonelle "
"utgivere ikke kan bruke. Tradisjonelle utgivere må stole på opphavsretten "
"for å hindre kopiering og investere tungt i å følge opp digitale rettigheter "
"for å sikre sine bøker ikke blir delt.  Ved hjelp av CC BY, unngår OpenStax "
"måtte håndtere digitale rettigheter og medfølgende kostnader. OpenStax-bøker "
"kan kopieres og deles igjen og igjen. CC BY endrer betingelsene og utnytter "
"ineffektiviteten i det tradisjonelle markedet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7121
msgid ""
"As of September 16, 2016, OpenStax has achieved some impressive results. "
"From the OpenStax at a Glance fact sheet from their recent press kit:"
msgstr ""
"Per 16. september 2016, kan OpenStax vise endel imponerende resultater. Her "
"fra OpenStax at a Glance fact sheet i den seneste presse-informasjonen:"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7128
msgid "Books published: 23"
msgstr "Bøker publisert: 23"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7133
msgid "Students who have used OpenStax: 1.6 million"
msgstr "Studenter som har brukt OpenStax: 1,6 millioner"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7138
msgid "Money saved for students: $155 million"
msgstr "Penger spart for studenter: 155 millioner dollar"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7143
msgid "Money saved for students in the 2016/17 academic year: $77 million"
msgstr "Penger spart for studenter i studieåret 2016/17: 77 millioner dollar"

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7149
msgid ""
"Schools that have used OpenStax: 2,668 (This number reflects all "
"institutions using at least one OpenStax textbook. Out of 2,668 schools, 517 "
"are two-year colleges, 835 four-year colleges and universities, and 344 "
"colleges and universities outside the U.S.)"
msgstr ""
"Skoler som har brukt OpenStax: 2,668 (dette tallet viser alle institusjoner "
"som bruker minst én OpenStax lærebok. Av 2,668 skoler er 517 to-årig "
"høgskoler, 835 fire års høgskoler og universiteter, og 344 høyskoler og "
"universiteter utenfor USA)"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7158
msgid ""
"While OpenStax has to date been focused on the United States, there is "
"overseas adoption especially in the science, technology, engineering, and "
"math (STEM) fields. Large scale adoption in the United States is seen as a "
"necessary precursor to international interest."
msgstr ""
"Mens OpenStax har hittil vært fokusert på USA, skjer den utenlandske "
"spendingen spesielt på feltene innen vitenskap, teknologi, ingeniørfag og "
"matematikk (STEM). Storskala spredning i USA sees på som en nødvendig "
"forutsetning for internasjonal interesse."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7165
msgid ""
"OpenStax has primarily focused on introductory-level college courses where "
"there is high enrollment, but they are starting to think about verticals—a "
"broad offering for a specific group or need. David thinks it would be "
"terrific if OpenStax could provide access to free textbooks through the "
"entire curriculum of a nursing degree, for example."
msgstr ""
"OpenStax har primært fokusert på innledende college kurs hvor det er mange "
"registrerte, men de begynner å tenke vertikalt - på et bredt tilbud for en "
"bestemt gruppe eller et bestemt behov. David synes det ville være veldig bra "
"hvis OpenStax kan gi tilgang til gratis lærebøker gjennom hele pensumet, for "
"eksempel for en sykepleierutdanning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7173
msgid ""
"Finally, for OpenStax success is not just about the adoption of their "
"textbooks and student savings. There is a human aspect to the work that is "
"hard to quantify but incredibly important. They get emails from students "
"saying how OpenStax saved them from making difficult choices like buying "
"food or a textbook. OpenStax would also like to assess the impact their "
"books have on learning efficiency, persistence, and completion. By building "
"an open business model based on Creative Commons, OpenStax is making it "
"possible for every student who wants access to education to get it."
msgstr ""
"Til slutt, for OpenStax suksess er ikke bare om spreding av lærebøker og "
"besparelser for studentene. Det er et menneskelig aspekt ved arbeidet, som "
"det er vanskelig å kvantifisere, men er utrolig viktig. De får e-"
"postmeldinger fra studenter om hvordan OpenStax reddet dem fra vanskelige "
"valg som å kjøpe mat eller en lærebok. OpenStax ønsker også å vurdere "
"effekten bøker deres har på læringseffektiviteten, utholdenheten og "
"fullførelsen. Ved å bygge på en åpen forretningsmodell basert på Creative "
"Commons, gjør OpenStax det mulig for alle studenter som ønsker å skaffe seg "
"en utdanning å kunne få den."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7186
msgid "Amanda Palmer"
msgstr "Amanda Palmer"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7189
msgid "Amanda Palmer is a musician, artist, and writer. Based in the U.S."
msgstr "Amanda Palmer er en musiker, kunstner og skribent.  Basert i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7193
msgid "<ulink url=\"http://amandapalmer.net\"/>"
msgstr "<ulink url=\"http://amandapalmer.net\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7195
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
"(subscription-based), pay-what-you-want, charging for physical copies (book "
"and album sales), charg-ing for in-person version (performances), selling "
"merchandise"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Folkefinansiering "
"(abonnementsbasert), betaling for fysiske kopier, varesalg"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7200
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 15, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 15 desember 2015"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7210
msgid ""
"<ulink url=\"http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/"
"amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-"
"swift/#44e20ce46d67\"/>"
msgstr ""
"<ulink url=\"http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/"
"amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-"
"swift/#44e20ce46d67\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7208
msgid ""
"Since the beginning of her career, Amanda Palmer has been on what she calls "
"a “journey with no roadmap,” continually experimenting to find new ways to "
"sustain her creative work.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Siden starten på sin karriere, har Amanda Palmer vært på det hun kaller en "
"«reise med ingen veikart, \"kontinuerlig eksperimentet med å finne nye måter "
"å opprettholde sin skapende arbeid på.<placeholder type=\"footnote\" id="
"\"0\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7213
msgid ""
"In her best-selling book, The Art of Asking, Amanda articulates exactly what "
"she has been and continues to strive for—“the ideal sweet spot . . . in "
"which the artist can share freely and directly feel the reverberations of "
"their artistic gifts to the community, and make a living doing that.”"
msgstr ""
"I sin bestselgerbok, \"The Art of Asking\", formulerer Amanda nøyaktig hva "
"hun har vært og hva hun fortsetter å strebe etter,  - \"det ideelle "
"punktet ... der kunstneren fritt kan dele og direkte føler etterklangen av "
"sine kunstneriske gaver til samfunnet, og leve av det.\""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7220
msgid ""
"While she seems to have successfully found that sweet spot for herself, "
"Amanda is the first to acknowledge there is no silver bullet. She thinks the "
"digital age is both an exciting and frustrating time for creators. “On the "
"one hand, we have this beautiful shareability,” Amanda said. “On the other, "
"you’ve got a bunch of confused artists wondering how to make money to buy "
"food so we can make more art.”"
msgstr ""
"Mens hun for egen del synes å ha funnet dette vellykkede stedet, er Amanda "
"den første til å erkjenne at det ikke er noen snarvei.  Hun mener den "
"digitale tidsalderen både er en spennende og frustrerende tid for skaperen. "
"\"På den ene side, har vi denne vakre delingen,\" sa Amanda. \"På den andre  "
"siden, har du en haug med forvirrede kunstnere som lurer på hvordan man "
"tjener penger til å kjøpe mat så vi kan lage mer kunst.\""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7229
msgid ""
"Amanda began her artistic career as a street performer. She would dress up "
"in an antique wedding gown, paint her face white, stand on a stack of milk "
"crates, and hand out flowers to strangers as part of a silent dramatic "
"performance. She collected money in a hat. Most people walked by her without "
"stopping, but an essential few stopped to watch and drop some money into her "
"hat to show their appreciation. Rather than dwelling on the majority of "
"people who ignored her, she felt thankful for those who stopped. “All I "
"needed was . . . some people,” she wrote in her book. “Enough people. Enough "
"to make it worth coming back the next day, enough people to help me make "
"rent and put food on the table. Enough so I could keep making art.”"
msgstr ""
"Amanda begynte sin kunstneriske karriere som en gateartist. Hun kunne kle "
"seg i en antikk brudekjole, male ansiktet hvitt, stå på en stabel med "
"melkekasser og levere ut blomster til fremmede som en del av en taus, "
"dramatisk, opptreden. Hun samlet inn penger i en lue. Fleste gikk forbi "
"henne uten å stoppe, men en noen viktige få stoppet for å se og legge noen "
"penger i lua for å vise sin takknemlighet. I stedet for dvele ved de fleste "
"menneskene som ignorerte henne, følte hun takknemlig for dem som stoppet. "
"\"Alt jeg trengte var... noen mennesker,\" skrev hun i sin bok. «Nok folk. "
"Nok til å gjøre det verdt komme tilbake neste dag, nok folk til å hjelpe meg "
"til å betale husleia og sette mat på bordet. Nok så jeg kunne fortsette å "
"gjøre kunst.\""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7243
msgid ""
"Amanda has come a long way from her street-performing days, but her career "
"remains dominated by that same sentiment—finding ways to reach “her crowd” "
"and feeling gratitude when she does. With her band the Dresden Dolls, Amanda "
"tried the traditional path of signing with a record label. It didn’t take "
"for a variety of reasons, but one of them was that the label had absolutely "
"no interest in Amanda’s view of success. They wanted hits, but making music "
"for the masses was never what Amanda and the Dresden Dolls set out to do."
msgstr ""
"Amanda har kommet langt fra etter sine gateartistdager, men karrieren hennes "
"dominseres fortsatt av den samme følelsen, å finne måter å nå \"sitt "
"publikum i mengden\" og føle takknemlighet når hun gjør det. Med hennes "
"band, Dresden Dolls, prøvde Amanda den tradisjonelle veien med å signere med "
"et plateselskap. Det virket ikke av en rekke årsaker, men en av dem var at "
"selskapet hadde absolutt ingen interesse for Amandas syn på suksess. De "
"ønsket slagere, men å lage musikk for massene var aldri hva Amanda og "
"Dresden Dolls var ment å skulle gjøre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7254
msgid ""
"After leaving the record label in 2008, she began experimenting with "
"different ways to make a living. She released music directly to the public "
"without involving a middle man, releasing digital files on a “pay what you "
"want” basis and selling CDs and vinyl.  She also made money from live "
"performances and merchandise sales.  Eventually, in 2012 she decided to try "
"her hand at the sort of crowdfunding we know so well today. Her Kickstarter "
"project started with a goal of $100,000, and she made $1.2 million. It "
"remains one of the most successful Kickstarter projects of all time."
msgstr ""
"Etter at hun forlot plateselskapet i 2008, begynte hun å eksperimentere med "
"ulike måter å leve på. Hun ga ut musikk direkte til publikum uten involverer "
"en mellommann, la ut digitale filer på \"betal hva du vil\"-basis og solgte "
"CDer og vinyl.  Hun gjorde også penger på live-opptredener og varesalg.  Til "
"slutt, i 2012 besluttet hun å prøve seg på en slags folkefinansiering som vi "
"alle vet så godt hva er i dag. Hennes Kickstarter-prosjektet startet med et "
"mål på $ 100 000, og hun fikk inn $1,2 millioner. Det er fortsatt et av de "
"mest vellykkede Kickstarter-prosjektene gjennom tidene."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7266
msgid ""
"Today, Amanda has switched gears away from crowdfunding for specific "
"projects to instead getting consistent financial support from her fan base "
"on Patreon, a crowdfunding site that allows artists to get recurring "
"donations from fans. More than eight thousand people have signed up to "
"support her so she can create music, art, and any other creative “thing” "
"that she is inspired to make. The recurring pledges are made on a “per "
"thing” basis. All of the content she makes is made freely available under an "
"Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)."
msgstr ""
"I dag, har Amanda byttet fra folkefinansiering til spesifikke prosjekter, "
"men får stedet får jevn økonomisk støtte fra sin fan base på Patreon, et "
"nettsted for folkefinansiering som lar artister å få regelmessige donasjoner "
"fra fans. Mer enn åtte tusen mennesker har meldt seg til å støtte henne så "
"hun kan lage musikk, kunst, og andre kreative \"ting\" som hun blir "
"inspirert til å gjøre. Regelmessige tar hun initiativ på en \"per gang\"-"
"basis. Alt innhold hun lager gjøres fritt tilgjengelig med en Attribution-"
"NonCommercial-ShareAlike license (CC BY-NC-SA)."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7277
msgid ""
"Making her music and art available under Creative Commons licensing "
"undoubtedly limits her options for how she makes a living. But sharing her "
"work has been part of her model since the beginning of her career, even "
"before she discovered Creative Commons. Amanda says the Dresden Dolls used "
"to get ten emails per week from fans asking if they could use their music "
"for different projects. They said yes to all of the requests, as long as it "
"wasn’t for a completely for-profit venture. At the time, they used a short-"
"form agreement written by Amanda herself. “I made everyone sign that "
"contract so at least I wouldn’t be leaving the band vulnerable to someone "
"later going on and putting our music in a Camel cigarette ad,” Amanda said. "
"Once she discovered Creative Commons, adopting the licenses was an easy "
"decision because it gave them a more formal, standardized way of doing what "
"they had been doing all along. The NonCommercial licenses were a natural fit."
msgstr ""
"Hennes musikk og kunst med Creative Commons lisenser begrenser utvilsomt "
"hennes valgmuligheter for hvordan hun skaffer et levebrød. Men å dele sitt "
"arbeid har vært en del av hennes modell siden begynnelsen av hennes "
"karriere, selv før hun oppdaget Creative Commons. Amanda sier Dresden Dolls "
"brukte å få ti e-poster per uke fra fans som spurte om de kunne brukes "
"hennes musikk i forskjellige prosjekter. De sa ja til alle forespørsler, så "
"lenge det ikke var for et helt inntektsgivende formål. Samtidig brukte de en "
"kort-form avtale skrevet av Amanda selv. \"Jeg fikk alle til å signere den "
"kontakten så jeg ikke gjorde bandet sårbart for at noen senere skjer brukte "
"vår musikk i en Camel sigarettannonse,\" Amanda sa. Straks hun oppdaget "
"Creative Commons, var det en lett beslutning å ta i bruk lisensene fordi det "
"ga dem en mer formell og standardisert måte å gjøre hva de hadde gjort hele "
"tiden. En ikke-kommersiell lisensene var en naturlig tilpasning."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7295
msgid ""
"Amanda embraces the way her fans share and build upon her music.  In The Art "
"of Asking, she wrote that some of her fans’ unofficial videos using her "
"music surpass the official videos in number of views on YouTube. Rather than "
"seeing this sort of thing as competition, Amanda celebrates it. “We got into "
"this because we wanted to share the joy of music,” she said."
msgstr ""
"Amanda omfavner måten tilhengerne hennes deler og bygger videre på musikken "
"hennes. I \"The Art of Asking\" skrev hun at noen av tilhengerne har laget "
"uoffisielle videoer med hennes musikk. De overgår faktisk de offisielle "
"videoene i antall visninger på YouTube. I stedet for å se på dette som en "
"slags konkurranse, synes Amanda det er flott. «Jeg startet med dette fordi "
"jeg ønsket å dele musikkgleden,» sier hun."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7303
msgid ""
"This is symbolic of how nearly everything she does in her career is "
"motivated by a desire to connect with her fans. At the start of her career, "
"she and the band would throw concerts at house parties. As the gatherings "
"grew, the line between fans and friends was completely blurred. “Not only "
"did most our early fans know where I lived and where we practiced, but most "
"of them had also been in my kitchen,” Amanda wrote in The Art of Asking."
msgstr ""
"Dette er symbolsk for at nesten alt hun gjør i sin karriere, er motivert av "
"et ønske om tilknytning til fansen. I starten av karrieren, startet bandet "
"med konserter i hjemmeselskaper. Ettersom samlingene vokste, og linjen "
"mellom fans og venner ble helt uskarpe. \"Ikke bare visste våre tidligste "
"fans hvor jeg bodde, og der vi øvde, og de fleste av dem hadde også vært på "
"kjøkkenet mitt,\" skrev Amanda i \"The Art of Asking\"."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7312
msgid ""
"Even though her fan base is now huge and global, she continues to seek this "
"sort of human connection with her fans. She seeks out face-to-face contact "
"with her fans every chance she can get. Her hugely successful Kickstarter "
"featured fifty concerts at house parties for backers. She spends hours in "
"the signing line after shows. It helps that Amanda has the kind of dynamic, "
"engaging personality that instantly draws people to her, but a big component "
"of her ability to connect with people is her willingness to listen. "
"“Listening fast and caring immediately is a skill unto itself,” Amanda wrote."
msgstr ""
"Selv om fanbase nå er stor og global, fortsetter hun å søke denne typen "
"menneskelig kobling med fansen. Hun søker ut personlig kontakt med fansen i "
"hver sjanse hun kan få. Hennes suksessfulle Kickstarter omfattet femti "
"konserter på hjemmeselskaper for tilhengere. Hun tilbringer timer med "
"signering etter opptredene. Det hjelper at Amanda har en dynamisk, og "
"engasjerende personlighet som umiddelbart trekker folk til henne, men en "
"stor del av hennes evne til å få kontakt med folk er viljen hennes til å "
"lytte. \"Lytte raskt og omsorg umiddelbart er en ferdighet for seg selv,\" "
"skrev Amanda."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7324
msgid ""
"Another part of the connection fans feel with Amanda is how much they know "
"about her life. Rather than trying to craft a public persona or image, she "
"essentially lives her life as an open book.  She has written openly about "
"incredibly personal events in her life, and she isn’t afraid to be "
"vulnerable. Having that kind of trust in her fans—the trust it takes to be "
"truly honest—begets trust from her fans in return. When she meets fans for "
"the first time after a show, they can legitimately feel like they know her."
msgstr ""
"En del av tilknytningen fansen føler til Amanda er hvor mye de vet om hennes "
"liv. Snarere enn å prøve å skape en offentlig person eller et bilde, lever "
"hun i hovedsak livet som en åpen bok. Hun har skrevet åpent om utrolig "
"personlige heendelser i livet sitt, og hun er ikke redd for å være sårbar. Å "
"ha den slags tillit til fansen - tilliten som kreves for å være virkelig "
"ærlig  - avler tillit fra fansen i retur. Når hun møter fans for første gang "
"etter en forestilling, kan de helt riktig føle at de kjenner henne."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7334
msgid ""
"“With social media, we’re so concerned with the picture looking palatable "
"and consumable that we forget that being human and showing the flaws and "
"exposing the vulnerability actually create a deeper connection than just "
"looking fantastic,” Amanda said.  “Everything in our culture is telling us "
"otherwise. But my experience has shown me that the risk of making yourself "
"vulnerable is almost always worth it.”"
msgstr ""
"\"Med sosiale medier, er vi så opptatt med at bildet ser akseptabelt ut så "
"vi glemmer at vi glemmer at å være menneske og viser feilene og utsette "
"sårbarhet faktisk lager en dypere forbindelse enn det å bare å se fantastisk "
"ut.\" sa Amanda.  \"Alt i vår kultur er forteller oss noe annet. Men min "
"erfaring har vist meg at risikoen for gjør seg selv sårbar er nesten alltid "
"verdt det.\""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7343
msgid ""
"Not only does she disclose intimate details of her life to them, she sleeps "
"on their couches, listens to their stories, cries with them. In short, she "
"treats her fans like friends in nearly every possible way, even when they "
"are complete strangers. This mentality—that fans are friends—is completely "
"intertwined with Amanda’s success as an artist. It is also intertwined with "
"her use of Creative Commons licenses. Because that is what you do with your "
"friends—you share."
msgstr ""
"Ikke bare oppgir hun intime detaljer om sitt liv til dem, hun sover på deres "
"sofaer, lytter til deres historier, gråter med dem. Kort sagt, behandler hun "
"fansen som venner på nesten alle mulige måter, selv når de er fullstendig "
"fremmede. Denne mentaliteten, at fans er venner - er helt sammenvevd med "
"Amanda suksess som kunstner. Det er også vevd sammen med sin bruk av "
"Creative Commons-lisenser. Fordi det er det du gjør med vennene dine, - du "
"deler."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7353
msgid ""
"After years of investing time and energy into building trust with her fans, "
"she has a strong enough relationship with them to ask for support—through "
"pay-what-you-want donations, Kickstarter, Patreon, or even asking them to "
"lend a hand at a concert. As Amanda explains it, crowdfunding (which is "
"really what all of these different things are) is about asking for support "
"from people who know and trust you. People who feel personally invested in "
"your success."
msgstr ""
"Etter år med investert tid og energi i å bygge tillit til fansen, har hun en "
"sterkt nok forhold til dem til å be om støtte gjennom Betal-hva-du-vil "
"donasjoner, Kickstarter, Patreon, eller selv å be dem å ta et i tak på en "
"konsert. Som Amanda forklarer det, folkefinansiering (noe som er virkelig "
"hva alle disse forskjellige tingene er) er å om be om støtte fra folk som "
"kjenner og stoler på deg. Personer som føler at de personlig har investert i "
"din suksess."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7363
msgid ""
"“When you openly, radically trust people, they not only take care of you, "
"they become your allies, your family,” she wrote. There really is a feeling "
"of solidarity within her core fan base. From the beginning, Amanda and her "
"band encouraged people to dress up for their shows. They consciously "
"cultivated a feeling of belonging to their “weird little family.”"
msgstr ""
"\"Når du åpent, virkelig stoler mennesker, tar de ikke bare ta vare på deg, "
"de blir dine allierte, din familie,\" skrev hun. Det er virkelig en følelse "
"av samhold hos kjernen av hennes fans. Fra starten av \"Amanda and her band"
"\" oppfordret hun folk til å kle seg opp til sine forestillinger. De dyrket "
"en bevisst følelse av tilhørighet til \"denne rare lille familien.\""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7371
msgid ""
"This sort of intimacy with fans is not possible or even desirable for every "
"creator. “I don’t take for granted that I happen to be the type of person "
"who loves cavorting with strangers,” Amanda said. “I recognize that it’s not "
"necessarily everyone’s idea of a good time. Everyone does it differently. "
"Replicating what I have done won’t work for others if it isn’t joyful to "
"them. It’s about finding a way to channel energy in a way that is joyful to "
"you.”"
msgstr ""
"Slik intimitet med fans er ikke mulig eller egentlig ønskelig for alle "
"artister. \"Jeg tar det ikke for gitt at jeg tilfeldigvis er den typen "
"person som elsker å danse omkring med fremmede,\" sa Amanda. \"Jeg erkjenner "
"at det ikke nødvendigvis er forestilling om å ha det trivelig. Alle gjør det "
"forskjellig. Å gjenta hva jeg har gjort, fungere ikke for andre hvis det "
"ikke er l glede for dem. Det gjelder å finne en måte å kanalisere sin energi "
"på som gleder deg.\""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7380
msgid ""
"Yet while Amanda joyfully interacts with her fans and involves them in her "
"work as much as possible, she does keep one job primarily to herself—writing "
"the music. She loves the creativity with which her fans use and adapt her "
"work, but she intentionally does not involve them at the first stage of "
"creating her artistic work. And, of course, the songs and music are what "
"initially draw people to Amanda Palmer. It is only once she has connected to "
"people through her music that she can then begin to build ties with them on "
"a more personal level, both in person and online. In her book, Amanda "
"describes it as casting a net. It starts with the art and then the bond "
"strengthens with human connection."
msgstr ""
"Men mens Amanda frydefullt samhandler med fansen og involverer dem i sitt "
"arbeid så mye som mulig, beholder hun en jobb primært for seg selv, å skrive "
"musikken. Hun elsker kreativiten som fansen bruker og tilpasser sitt arbeid, "
"men med vilje involverer hun dem ikke i den første fasen av sitt "
"kunstneriske arbeid. Og selvfølgelig, sangene og musikken er det først "
"trekke folk til Amanda Palmer. Det er bare når hun har koblet til mennesker "
"gjennom musikken sin at hun så kan begynne å bygge bånd på et mer personlig "
"nivå, både personlig og på nettet. I sin bok beskriver Amanda det som å "
"kaste et nett. Det starter med kunst og deretter styrkes bindingen med "
"menneskelige relasjoner."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7393
msgid ""
"For Amanda, the entire point of being an artist is to establish and maintain "
"this connection. “It sounds so corny,” she said, “but my experience in forty "
"years on this planet has pointed me to an obvious truth—that connection with "
"human beings feels so much better and more fulfilling than approaching art "
"through a capitalist lens. There is no more satisfying end goal than having "
"someone tell you that what you do is genuinely of value to them.”"
msgstr ""
"For Amanda er hele poenget med å være kunstner å etablere og opprettholde "
"denne kontakten. \"Det høres så banalt ut,\" sa hun, \"men min erfaring, med "
"førti år på denne planeten, har gitt meg en åpenbar sannhet, at forbindelse "
"med mennesker føles så mye bedre og mer dypere enn nærmer kunst gjennom en "
"kapitalistisk linse. Det er ikke noe mer tilfredsstillende mål enn at noen "
"forteller deg at hva du gjør virkelig er av verdi for dem. \""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7402
msgid ""
"As she explains it, when a fan gives her a ten-dollar bill, usually what "
"they are saying is that the money symbolizes some deeper value the music "
"provided them. For Amanda, art is not just a product; it’s a relationship. "
"Viewed from this lens, what Amanda does today is not that different from "
"what she did as a young street performer. She shares her music and other "
"artistic gifts.  She shares herself. And then rather than forcing people to "
"help her, she lets them."
msgstr ""
"Som hun forklarer det, når en fan gir henne en ti dollar seddel, er det "
"vanligvis hva de med det sier at pengene symboliserer at musikken ga dem noe "
"av dypere verdi. For Amanda er kunst ikke bare et produkt, det er en "
"relasjon. Sett slik, er det Amanda gjør i dag ikke så forskjellig fra hva "
"hun gjorde som ung gateartist. Hun deler sin musikk og andre kunstneriske "
"gaver.  Hun deler seg selv. Og istedenfor å presse folk til å hjelpe henne, "
"hun lar dem gjøre det."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7413
msgid "PLOS (Public Library of Science)"
msgstr "PLOS (Public Library of Science - Offentlig vitenskapsbibliotek)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7416
msgid ""
"PLOS (Public Library of Science) is a nonprofit that publishes a library of "
"academic journals and other scientific literature.  Founded in 2000 in the U."
"S."
msgstr ""
"PLOS (Public Library of Science) er en ideell organisasjon som utgir et "
"bibliotek av akademiske tidsskrifter og annen vitenskapelig litteratur.  "
"Grunnlagt i år 2000 i USA."

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7421
msgid "<ulink url=\"http://plos.org\"/>"
msgstr "<ulink url=\"http://plos.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7423
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging content "
"creators an author processing charge to be featured in the journal"
msgstr ""
"<emphasis role=\"strong\"> inntekter modell</emphasis>: Innholdsleverandører "
"betaler en artikkelprosessavgift for å bli publisert i tidsskiftet"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7427
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 7, 2016"
msgstr "<emphasis role=\"strong\">Dato for intervju</emphasis>: 7. mars 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7429
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Louise Page, publisher"
msgstr "<emphasis role=\"strong\">Intervjuet</emphasis>: Louise Page, utgiver"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7437
msgid ""
"The Public Library of Science (PLOS) began in 2000 when three leading "
"scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an "
"online petition. They were calling for scientists to stop submitting papers "
"to journals that didn’t make the full text of their papers freely available "
"immediately or within six months. Although tens of thousands signed the "
"petition, most did not follow through. In August 2001, Patrick and Michael "
"announced that they would start their own nonprofit publishing operation to "
"do just what the petition promised. With start-up grant support from the "
"Gordon and Betty Moore Foundation, PLOS was launched to provide new open-"
"access journals for biomedicine, with research articles being released under "
"Attribution (CC BY) licenses."
msgstr ""
"The Public Library av Science (PLOS) startet i 2000 når tre ledende forskere "
"- Harold E. Varmus, Patrick O. Brown og Michael Eisen - startet en "
"underskriftskampanje på nettet. De ba forskere om å stoppe sende til "
"artikler til journaler som ikke gjorde den fulle teksten aav artiklene fritt "
"tilgjengelig umiddelbart eller innen seks måneder. Selv om titusenvis "
"signerte oppropet, fulgte de fleste ikke. I august 2001 kunngjorde Patrick "
"og Michael at de ville starte sine egne ideelle publiseringsoperasjon for å "
"gjør akkurat hva begjæringen lovet. Med oppstartstøtte fra Gordon og Betty "
"Moore Foundation, ble PLOS lansert for å gi ut nye tidsskrifter med åpen "
"tilgang for biomedisin, med forskningsartikler utgitt med Attribution (CC "
"BY)-lisenser."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7451
msgid ""
"Traditionally, academic publishing begins with an author submitting a "
"manuscript to a publisher. After in-house technical and ethical "
"considerations, the article is then peer-reviewed to determine if the "
"quality of the work is acceptable for publishing.  Once accepted, the "
"publisher takes the article through the process of copyediting, typesetting, "
"and eventual publishing in a print or online publication. Traditional "
"journal publishers recover costs and earn profit by charging a subscription "
"fee to libraries or an access fee to users wanting to read the journal or "
"article."
msgstr ""
"Tradisjonelt starter vitenskapelig publisering med at en forfatter sender et "
"manuskript til en utgiver. Etter interne tekniske og etiske betraktninger "
"blir artikkelen deretter gjennomgått å avgjøre om kvaliteten på arbeidet er "
"akseptabel for publisering.  Så snart den er akseptert, tar utgiveren "
"artikkelen gjennom prosessen med redigering, sats og eventuell publisering i "
"en trykket eller elektronisk publikasjon. Tradisjonelle journalutgivere får "
"dekket kostnader og tjener på abonnementer til biblioteker eller en avgift "
"fra brukere som ønsker å lese journalen eller artikkelen."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7462
msgid ""
"For Louise Page, the current publisher of PLOS, this traditional model "
"results in inequity. Access is restricted to those who can pay. Most "
"research is funded through government-appointed agencies, that is, with "
"public funds. It’s unjust that the public who funded the research would be "
"required to pay again to access the results. Not everyone can afford the "
"ever-escalating subscription fees publishers charge, especially when library "
"budgets are being reduced. Restricting access to the results of scientific "
"research slows the dissemination of this research and advancement of the "
"field. It was time for a new model."
msgstr ""
"For Louise Page, den gjeldende utgiveren av PLOS, gir denne tradisjonelle "
"modellen forskjellsbehandling. Tilgang er begrenset til dem som kan betale. "
"Mest forskning er finansiert via offentlige organer, dvs med offentlige "
"midler. Det er urettferdig at publikum, som finansierte forskningen, blir "
"pålagt å betale en gang til for tilgang til resultatene. Ikke alle vil råd "
"til å betale de stadig økende abonnementsavgiftene utgiverne krever, "
"spesielt når bibliotekenes budsjetter reduseres. Begrenset tilgang til "
"resultatene av vitenskapelig forskning bremser formidling av denne "
"forskningen og utvikling av fagfeltet. Det var på tide med en ny modell."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7474
msgid ""
"That new model became known as open access. That is, free and open "
"availability on the Internet. Open-access research articles are not behind a "
"paywall and do not require a login. A key benefit of open access is that it "
"allows people to freely use, copy, and distribute the articles, as they are "
"primarily published under an Attribution (CC BY) license (which only "
"requires the user to provide appropriate attribution). And more importantly, "
"policy makers, clinicians, entrepreneurs, educators, and students around the "
"world have free and timely access to the latest research immediately on "
"publication."
msgstr ""
"Denne nye modellen ble kjent som åpen tilgang. Det er gratis og med åpen "
"tilgang på Internett. Åpne forskningsartikler liggerer ikke bak en "
"betalingsvegg og krever ikke pålogging. En viktig fordel med åpen tilgang er "
"at den tillater folk å fritt bruke, kopiere og distribuere artikler, som de "
"er primært publisert under en Attribution (CC BY)-lisens (som bare krever at "
"brukeren angir passende henvisning). Og enda viktigere, beslutningstakere, "
"klinikere, gründere, lærere og studenter  verden rundt har fri og betimelig "
"tilgang til den nyeste forskningen umiddelbart ved publisering."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7486
msgid ""
"However, open access requires rethinking the business model of research "
"publication. Rather than charge a subscription fee to access the journal, "
"PLOS decided to turn the model on its head and charge a publication fee, "
"known as an article-processing charge.  This up-front fee, generally paid by "
"the funder of the research or the author’s institution, covers the expenses "
"such as editorial oversight, peer-review management, journal production, "
"online hosting, and support for discovery. Fees are per article and are "
"billed upon acceptance for publishing. There are no additional charges based "
"on word length, figures, or other elements."
msgstr ""
"Imidlertid krever åpen tilgang at forretningsmidellen for "
"forskningspublisering må gjennomgås på nytt. Heller enn å kreve en "
"abonnementsavgift for journalen, besluttet PLOS å snu modellen på hodet og "
"kreve et publiseringsgebyr, kjent som en artikkelbehandlingskostnad.  Denne "
"forskuddsavgiften, vanligvis betalt av den som finansierer forskningen "
"elleforfatterens institusjon, dekker utgifter som redaksjonell gjennomgang, "
"organisering av fagfellevurdering, journalproduksjon, plass på nettet og "
"fremleggelse. Avgifter er per artikkel og faktureres ved aksept for "
"publisering. Det er ingen ekstrakostnader basert på antall ord, tegninger, "
"tall eller andre elementer."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7498
msgid ""
"Calculating the article-processing charge involves taking all the costs "
"associated with publishing the journal and determining a cost per article "
"that collectively recovers costs. For PLOS’s journals in biology, medicine, "
"genetics, computational biology, neglected tropical diseases, and pathogens, "
"the article-processing charge ranges from $2,250 to $2,900. Article-"
"publication charges for PLOS ONE, a journal started in 2006, are just under "
"$1,500."
msgstr ""
"Å beregne artikkelbehandlingsavgiften krever å ta med alle kostnader "
"forbundet med å publisere tidsskriftet og fastsette en kostnad per artikkel "
"som samlet dekker kostnadene. For PLOSs tidsskrifter i biologi, medisin, "
"genetikk, beregningsbiologi, forsømte tropiske sykdommer og patogener, "
"varierer betalingen for artikkelbehandlingen fra $2250 til $2900. Betalingen "
"for artikkelpublikasjoner i PLOS ONE, et tidsskrift startet i 2006, er like "
"under $1500."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7507
msgid ""
"PLOS believes that lack of funds should not be a barrier to publication. "
"Since its inception, PLOS has provided fee support for individuals and "
"institutions to help authors who can’t afford the article-processing charges."
msgstr ""
"PLOS mener at mangel på midler ikke bør være en barriere for publisering. "
"Siden begynnelsen, har PLOS gitt betalingstøtte til enkeltpersoner og "
"institusjoner for å hjelpe forfattere som ikke har råd til kostnadene for "
"artikkelbehandling."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7513
msgid ""
"Louise identifies marketing as one area of big difference between PLOS and "
"traditional journal publishers. Traditional journals have to invest heavily "
"in staff, buildings, and infrastructure to market their journal and convince "
"customers to subscribe.  Restricting access to subscribers means that tools "
"for managing access control are necessary. They spend millions of dollars on "
"access-control systems, staff to manage them, and sales staff.  With PLOS’s "
"open-access publishing, there’s no need for these massive expenses; the "
"articles are free, open, and accessible to all upon publication. "
"Additionally, traditional publishers tend to spend more on marketing to "
"libraries, who ultimately pay the subscription fees. PLOS provides a better "
"service for authors by promoting their research directly to the research "
"community and giving the authors exposure. And this encourages other authors "
"to submit their work for publication."
msgstr ""
"Louise identifiserer markedsføring som et område med stor forskjell mellom "
"PLOS og tradisjonelle tidsskriftutgivere. Tradisjonelle tidsskriter må "
"investere tungt i ansatte, bygninger og infrastruktur for å markedsføre sine "
"tidsskrifter og overbevise kunder om å abonnere.  Å begrense tilgang til "
"abonnenter betyr at verktøy for å administrere tilgangskontroll blir "
"nødvendig. De bruker millioner av dollar på systemer for tilgangskontroll, "
"ansatte som administrerer dem og selgere.  Med PLOSs åpen tilgang "
"publisering er det ikke behov for disse massive utgiftene; artiklene er fri, "
"åpen og tilgjengelig for alle ved publikasjon. I tillegg pleier "
"tradisjonelle utgivere å bruke mer på markedsføring til biblioteker, som til "
"slutt betaler for abonnementet. PLOS gir bedre service for forfattere ved å "
"fremme deres forskning direkte til forskningsfellesskapet og gi forfatterne "
"eksponering. Og dette oppfordrer andre forfattere til å sende sitt arbeid "
"for publisering."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7530
msgid ""
"For Louise, PLOS would not exist without the Attribution license (CC BY). "
"This makes it very clear what rights are associated with the content and "
"provides a safe way for researchers to make their work available while "
"ensuring they get recognition (appropriate attribution). For PLOS, all of "
"this aligns with how they think research content should be published and "
"disseminated."
msgstr ""
"For Louise, ville PLOS ikke eksistert uten Attribution license (CC BY). "
"Denne gjør det veldig klart hvilke rettigheter som er knyttet til innholdet "
"og gir en sikker måte for forskere å gjør sitt arbeid tilgjengelig, og "
"samtidig sikre de får anerkjennelse (riktige henvisninger). For PLOS, er alt "
"dette knyttet opp mot hvordan de mener forskningsinnhold skal bli publisert "
"og spredd."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7538
msgid ""
"PLOS also has a broad open-data policy. To get their research paper "
"published, PLOS authors must also make their data available in a public "
"repository and provide a data-availability statement."
msgstr ""
"PLOS har også en bred åpen-data-politikk. For å få sine forskningsartikler "
"publisert, må PLOS sine bidragsytere også gjøre data tilgjengelige i en "
"offentlig kildebrønn og gi en erklæring om data-tilgjengelighet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7543
msgid ""
"Business-operation costs associated with the open-access model still largely "
"follow the existing publishing model. PLOS journals are online only, but the "
"editorial, peer-review, production, typesetting, and publishing stages are "
"all the same as for a traditional publisher. The editorial teams must be top "
"notch. PLOS has to function as well as or better than other premier "
"journals, as researchers have a choice about where to publish."
msgstr ""
"Kostnadene til forretningsvirksomhet som følger med åpen-tilgang-modellen "
"følger fortsatt i stor grad den eksisterende publiseringsmodellen. PLOS "
"tidsskrifter er bare på nettet, men det redaksjonelle, fagfellevurdering, "
"produksjon, layout, og publiseringstadier er de samme som for en "
"tradisjonell utgiver. De redaksjonelle gruppene må være av klasse. PLOS må "
"fungere like godt eller helst bedre enn andre fremtredende tidsskrifter, "
"slik at forskerne har et valg om hvor de vil publisere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7552
msgid ""
"Researchers are influenced by journal rankings, which reflect the place of a "
"journal within its field, the relative difficulty of being published in that "
"journal, and the prestige associated with it. PLOS journals rank high, even "
"though they are relatively new."
msgstr ""
"Forskere er påvirket av rangeringer av tidsskrifter, som gjenspeiler "
"plasseringen til en journal på sitt fagfelt, den relativ vanskeligheten av "
"publiseres i det tidsskriftet, og prestisjen knyttet til det. PLOS journaler "
"rangerer høyt, selv om de er relativt nye."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7558
msgid ""
"The promotion and tenure of researchers are partially based how many times "
"other researchers cite their articles. Louise says when researchers want to "
"discover and read the work of others in their field, they go to an online "
"aggregator or search engine, and not typically to a particular journal. The "
"CC BY licensing of PLOS research articles ensures easy access for readers "
"and generates more discovery and citations for authors."
msgstr ""
"Hvordan forskere blir kjent og det avtrykk de gir baseres delvis hvor mange "
"ganger andre forskere siterer deres artikler. Louise sier når forskere vil "
"oppdage og lese andres arbeid innen eget felt, de går til en oppsummerer "
"eller en søkemotor, og vanligvis ikke vanligvis til en bestemt journal. CC "
"BY-lisensiering av PLOSs forskningsartikler sikrer en enkel tilgang for "
"lesere og genererer flere tilslag og sitater for forfattere."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7567
msgid ""
"Louise believes that open access has been a huge success, progressing from a "
"movement led by a small cadre of researchers to something that is now "
"widespread and used in some form by every journal publisher. PLOS has had a "
"big impact. In 2012 to 2014, they published more open-access articles than "
"BioMed Central, the original open-access publisher, or anyone else."
msgstr ""
"Louise mener at åpen tilgang har vært en stor suksess. Å vokse fra en "
"bevegelse ledet av en liten kadre av forskere til noe som er nå utbredt og "
"brukes i en eller annen form av enhver tidsskiftutgiver. PLOS har hatt en "
"stor virkning. Fra 2012 til 2014 publisere de flere artikler enn BioMed "
"Central, den opprinnelige åpen tilgang utgiveren, eller noen andre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7575
msgid ""
"PLOS further disrupted the traditional journal-publishing model by "
"pioneering the concept of a megajournal. The PLOS ONE megajournal, launched "
"in 2006, is an open-access peer-reviewed academic journal that is much "
"larger than a traditional journal, publishing thousands of articles per year "
"and benefiting from economies of scale. PLOS ONE has a broad scope, covering "
"science and medicine as well as social sciences and the humanities. The "
"review and editorial process is less subjective. Articles are accepted for "
"publication based on whether they are technically sound rather than "
"perceived importance or relevance. This is very important in the current "
"debate about the integrity and reproducibility of research because negative "
"or null results can then be published as well, which are generally rejected "
"by traditional journals. PLOS ONE, like all the PLOS journals, is online "
"only with no print version. PLOS passes on the financial savings accrued "
"through economies of scale to researchers and the public by lowering the "
"article-processing charges, which are below that of other journals. PLOS ONE "
"is the biggest journal in the world and has really set the bar for "
"publishing academic journal articles on a large scale. Other publishers see "
"the value of the PLOS ONE model and are now offering their own "
"multidisciplinary forums for publishing all sound science."
msgstr ""
"PLOS forstyrret ytterligere den tradisjonelle modellen for  "
"tidsskriftspublisering med det banebrytende konseptet med et megatidsskift. "
"Megatidsskriftet PLOS ONE, lansert i 2006, er et akademisk tidsskrift med "
"fagfellevurdering og åpen tilgang, som er mye større enn et tradisjonelt "
"tidsskift, men publiserer tusenvis av artikler per år og nyter godt av "
"stordriftsfordeler. PLOS ONE har et bredt omfang, dekker naturvitenskap og "
"medisin så vel som som samfunnsvitenskap og humaniora. Gjennomgangen og den "
"redaksjonelle prosessen er mindre subjektiv. Artiklene er akseptert for "
"publisering basert på om de er teknisk gode i stedet for oppfattet viktighet "
"eller relevans. Dette er svært viktig i dagens debatt om integritet og "
"reproduserbarhet i forskningen fordi negative eller ikke-resultater nå også "
"kan publiseres, noe som som generelt avvises av tradisjonelle journaler. "
"PLOS ONE, er som alle PLOS-tidsskriftene bare på nettet og ikke som "
"trykksaker. PLOS overfører besparelsene stordriftsfordelene gir  til "
"forskere og publikum ved å senke kostnadene til artikkelbehandlingen, som er "
"lavere enn for andre tidsskrifter. PLOS ONE er det største tidsskriftet i "
"verden, og har virkelig lagt listen for storskala-publisering av akademiske "
"artikler. Andre utgivere ser verdien av PLOS ONE-modellen og tilbyr nå egne "
"tverrfaglige fora for å publisere all solid vitenskap."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7599
msgid ""
"Louise outlined some other aspects of the research-journal business model "
"PLOS is experimenting with, describing each as a kind of slider that could "
"be adjusted to change current practice."
msgstr ""
"Louise skisserte noen andre aspekter av forretningsmodellen for "
"forskningstidsskrifter som PLOS eksperimenterer med, der hun beskriver hver "
"som en slags skyvekontroll som kan justeres for å endre gjeldende praksis."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7604
msgid ""
"One slider is time to publication. Time to publication may shorten as "
"journals get better at providing quicker decisions to authors.  However, "
"there is always a trade-off with scale, as the bigger the volume of "
"articles, the more time the approval process inevitably takes."
msgstr ""
"En skyvekontroll gir tidspunktet for publikasjonen. Tidspunktet for "
"publikasjon kan forkortes etterhvert som tidsskiftene blir flinkere til å gi "
"raskere beslutninger for forfattere. Men er det alltid en avveining mot "
"omfanget, jo større volum med artikler, jo mer tid vil godkjenningsprosessen "
"uunngåelig ta."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7611
msgid ""
"Peer review is another part of the process that could change. It’s possible "
"to redefine what peer review actually is, when to review, and what "
"constitutes the final article for publication. Louise talked about the "
"potential to shift to an open-review process, placing the emphasis on "
"transparency rather than double-blind reviews. Louise thinks we’re moving "
"into a direction where it’s actually beneficial for an author to know who is "
"reviewing their paper and for the reviewer to know their review will be "
"public. An open-review process can also ensure everyone gets credit; right "
"now, credit is limited to the publisher and author."
msgstr ""
"Fagfellevurdering er en annen del av prosessen som kan endres. Det er mulig "
"å redefinere hva fagfellevurdering egentlig er, når den skal skje, og hva "
"som utgjør den endelige artikkelen for publisering. Louise snakket om "
"potensialet for å skifte til en åpen-vurderings-prosess, som legger vekt på "
"åpenhet i stedet for dobbelt-blinde vurderinger. Louise mener vi beveger oss "
"inn i en retning der det egentlig er fordelaktig for en forfatter å kjenne "
"til hvem som gjennomgår artikkelen deres og for den som gjennomgår å vite at "
"deres vurdering vil være offentlig. En åpen-vurderings-prosess kan også "
"sikre alle får anerkjennelse; akkurat nå, er anerkjennelsen begrenset til "
"utgiver og forfatter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7623
msgid ""
"Louise says research with negative outcomes is almost as important as "
"positive results. If journals published more research with negative "
"outcomes, we’d learn from what didn’t work. It could also reduce how much "
"the research wheel gets reinvented around the world."
msgstr ""
"Louise sier at forskning med negative resultater er nesten like viktige som "
"positive resultater. Hvis tidsskifter publiserte mer forskning med negative "
"resultater, ville vi lære hva som ikke fungerte. Det kan også redusere hvor "
"mye av forskning hjulet som blir gjenoppfunnet rundt i verden."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7630
msgid ""
"Another adjustable practice is the sharing of articles at early preprint "
"stages. Publication of research in a peer-reviewed journal can take a long "
"time because articles must undergo extensive peer review. The need to "
"quickly circulate current results within a scientific community has led to a "
"practice of distributing pre-print documents that have not yet undergone "
"peer review. Preprints broaden the peer-review process, allowing authors to "
"receive early feedback from a wide group of peers, which can help revise and "
"prepare the article for submission.  Offsetting the advantages of preprints "
"are author concerns over ensuring their primacy of being first to come up "
"with findings based on their research. Other researches may see findings the "
"preprint author has not yet thought of. However, preprints help researchers "
"get their discoveries out early and establish precedence. A big challenge is "
"that researchers don’t have a lot of time to comment on preprints."
msgstr ""
"En annen justerbar praksis er å dele artikler i en tidlig utkastfase. "
"Publisering av forskning i et tidsskrift kan ta lang tid fordi artikler må "
"gjennomgå en omfattende fagfellevurdering. Behovet for å raskt sirkulere "
"aktuelle resultater i en vitenskapelige samfunn har ført til en praksis med "
"å distribuere forhåndsutkast av dokumenter som ennå ikke har gjennomgått "
"fagfellevurdering. Dokumentutkast utvider prosessen med fagfellevurdering, "
"slik at forfatterne mottar en tidlig tilbakemelding fra en bred gruppe av "
"knutepunkter som kan hjelpe med å revidere og forberede artikkelen før den "
"leveres inn.  Å sette til side fordelene med dokumentutkast er "
"forfatterbekymringer for ikke å komme først med å legge frem resultater fra "
"sin egen forskning. Andre forskere kan se funn som  forfatteren av "
"dokumentutkastet ennå ikke har tenkt på. Imidlertid vil dokumentutkast "
"hjelpe forskere med å få ut sine funn tidlig og etablere forrang. En stor "
"utfordring er at forskerne ikke har mye tid til å kommentere dokumentutkast."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7648
msgid ""
"What constitutes a journal article could also change. The idea of a research "
"article as printed, bound, and in a library stack is outdated. Digital and "
"online open up new possibilities, such as a living document evolving over "
"time, inclusion of audio and video, and interactivity, like discussion and "
"recommendations. Even the size of what gets published could change. With "
"these changes the current form factor for what constitutes a research "
"article would undergo transformation."
msgstr ""
"Hva som utgjør et tidsskrift kan også endres. Ideen om en vitenskapelig "
"artikkel som skrives ut, innbundet, og i en bibliotek-stabel, er utdatert. Å "
"være digital og på nettet åpner opp for nye muligheter, for eksempel et "
"levende dokument som utvikler seg over tid, inkludering av lyd og video og "
"interaktivitet, som diskusjon og anbefalinger. Selv størrelsen på hva blir "
"publisert kan endres. Med disse forandringene vil den gjeldende formfaktoren "
"for hva som utgjør en vitenskapelig artikkel også gjennomgå endringer."

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7662
msgid "<ulink url=\"http://collections.plos.org\"/>"
msgstr "<ulink url=\"http://collections.plos.org\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7666
msgid "<ulink url=\"http://plos.org/article-level-metrics\"/>"
msgstr "<ulink url=\"http://plos.org/article-level-metrics\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7658
msgid ""
"As journals scale up, and new journals are introduced, more and more "
"information is being pushed out to readers, making the experience feel like "
"drinking from a fire hose. To help mitigate this, PLOS aggregates and "
"curates content from PLOS journals and their network of blogs.<placeholder "
"type=\"footnote\" id=\"0\"/> It also offers something called Article-Level "
"Metrics, which helps users assess research most relevant to the field "
"itself, based on indicators like usage, citations, social bookmarking and "
"dissemination activity, media and blog coverage, discussions, and ratings."
"<placeholder type=\"footnote\" id=\"1\"/> Louise believes that the journal "
"model could evolve to provide a more friendly and interactive user "
"experience, including a way for readers to communicate with authors."
msgstr ""
"Etterhvert som tidsskifter skaleres opp og nye tidsskifter kommer, skyves "
"mer og mer informasjon ut til leserne, noe som gir opplevelsen å føle at man "
"drikker fra en brannslange. For å begrense dette, aggregerer og "
"tilrettelegger PLOS innhold fra PLOS sine tidsskifter og sitt nettverk av "
"blogger.<placeholder type=\"footnote\" id=\"0\"/> De tilbyr også Article-"
"Level Metrics, som hjelper brukere med å vurdere hvilken forskning som er "
"mest relevant for selve feltet, basert på ulike indikatorer die bruk, "
"sitater, sosiale bokmerker og formidlingsaktivitet, omtale i media og "
"blogger, diskusjoner og rangeringer.<placeholder type=\"footnote\" id=\"1\"/"
"> Louise mener at tidskriftsmodellen kan utvikle seg til å gi en mer "
"brukervennlig og interaktiv brukeropplevelse, inkludert en måte for leserne "
"å kommunisere med forfattere på."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7671
msgid ""
"The big picture for PLOS going forward is to combine and adjust these "
"experimental practices in ways that continue to improve accessibility and "
"dissemination of research, while ensuring its integrity and reliability. The "
"ways they interlink are complex.  The process of change and adjustment is "
"not linear. PLOS sees itself as a very flexible publisher interested in "
"exploring all the permutations research-publishing can take, with authors "
"and readers who are open to experimentation."
msgstr ""
"Det store bildet for PLOS fremover er å kombinere og justere disse "
"eksperimentelle praksiser på måter som fortsetter å forbedre tilgjengelighet "
"og formidling av forskning, samtidig som integritet og pålitelighet sikres. "
"Måtene dette henger sammen på er komplekst. Prosessen med å endre- og "
"justere er ikke lineær. PLOS ser seg selv som en svært fleksibel utgiver som "
"er interessert i å utforske all omordninger som forskningspublisering kan "
"gi, sammen med forfattere og lesere som er åpne for eksperimentering."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7681
msgid ""
"For PLOS, success is not about revenue. Success is about proving that "
"scientific research can be communicated rapidly and economically at scale, "
"for the benefit of researchers and society.  The CC BY license makes it "
"possible for PLOS to publish in a way that is unfettered, open, and fast, "
"while ensuring that the authors get credit for their work. More than two "
"million scientists, scholars, and clinicians visit PLOS every month, with "
"more than 135,000 quality articles to peruse for free."
msgstr ""
"For PLOS er suksess ikke om overskudd. Suksess er å beviser at forskning kan "
"kommuniseres raskt og i økonomisk skala, til fordel for forskere og "
"samfunn.  CC BY-lisensen gjør det mulig for PLOS å publisere på en måte som "
"er ubundet, åpen og rask, samtidig som man sikrer at forfatterne får "
"anerkjennelse for sitt arbeid. Mer enn to millioner forskere, akademikere og "
"klinikere besøker PLOS hver måned, der mer enn 135,000 kvalitetsartikler kan "
"leses gratis."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7691
msgid ""
"Ultimately, for PLOS, its authors, and its readers, success is about making "
"research discoverable, available, and reproducible for the advancement of "
"science."
msgstr ""
"Til slutt, for PLOS, forfatterne og leserne, er suksessen å gjøre forskning "
"overskuelig, tilgjengelig og reproduserbar, til fremme av vitenskap."

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7697
#, fuzzy
msgid "Rijksmuseum"
msgstr "Rijksmuseum"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7700
msgid ""
"The Rijksmuseum is a Dutch national museum dedicated to art and history. "
"Founded in 1800 in the Netherlands"
msgstr ""
"Rijksmuseum er det nederlandske nasjonale museum for kunst og historie. "
"Grunnlagt i 1800 i Nederland"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7704
msgid "<ulink url=\"http://www.rijksmuseum.nl\"/>"
msgstr "<ulink url=\"http://www.rijksmuseum.nl\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7706
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grants and government "
"funding, charging for in-person version (museum admission), selling "
"merchandise"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Donasjoner og statlig "
"finansiering, betaling for personlig versjon (museumsadgang), og varesalg"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7710
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 11, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 11 desember 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7713
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Lizzy Jongma, the data "
"manager of the collections information department"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Lizzy Jongma, datasjef for "
"samlingsinformasjonen"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7721
msgid ""
"The Rijksmuseum, a national museum in the Netherlands dedicated to art and "
"history, has been housed in its current building since 1885. The monumental "
"building enjoyed more than 125 years of intensive use before needing a "
"thorough overhaul. In 2003, the museum was closed for renovations. Asbestos "
"was found in the roof, and although the museum was scheduled to be closed "
"for only three to four years, renovations ended up taking ten years. During "
"this time, the collection was moved to a different part of Amsterdam, which "
"created a physical distance with the curators. Out of necessity, they "
"started digitally photographing the collection and creating metadata "
"(information about each object to put into a database). With the renovations "
"going on for so long, the museum became largely forgotten by the public. Out "
"of these circumstances emerged a new and more open model for the museum."
msgstr ""
"Rijksmuseum, Nederlands nasjonalmuseum for kunst og historie, har vært "
"plassert i sin nåværende bygning siden 1885. Den monumentale bygningen fikk "
"mer enn 125 års intensiv bruk før trengte en grundig oppussing. I 2003 var "
"museet stengt for oppussing. Asbest ble funnet i taket, og selv om museet "
"var planlagt å være stengt i bare tre til fire år, tok renoveringen ti år. "
"Samtidig ble samlingen flyttet til en annen del av Amsterdam, som ga en "
"fysisk avstand til kuratorene. Av nødvendighet begynte de å digitalt å "
"fotografere samlingen og lage metadata (informasjon om hvert objekt til å "
"sette inn en database). Når renoveringen pågikk så lenge, ble museet i stor "
"grad glemt av publikum. Fra disse omstendighetene dukket det opp en ny og "
"mer åpen modell for museet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7737
msgid ""
"By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager, "
"staff were fed up with the situation the museum was in.  They also realized "
"that even with the new and larger space, it still wouldn’t be able to show "
"very much of the whole collection—eight thousand of over one million works "
"representing just 1 percent. Staff began exploring ways to express "
"themselves, to have something to show for all of the work they had been "
"doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there "
"a way for the museum provide benefit to the public while it was closed? They "
"began thinking about sharing Rijksmuseum’s collection using information "
"technology. And they put up a card-catalog like database of the entire "
"collection online."
msgstr ""
"Da Lizzy Jongma begynte i Rijksmuseum i 2011 som et dataansvarlig, var "
"personalet lei av situasjonen de var i. De innså også selv at med den nye og "
"større plassen, ville det fortsatt ikkevære mulig å vise mye av hele "
"samlingen - med åtte tusen av over en million -  representerte det 1 "
"prosent. Personalet begynte å utforske måter å uttrykke seg på, å ha noe å "
"vise for alt arbeidet de hadde utført.  Rijksmuseum er hovedsakelig "
"finansiert av nederlandske skattebetalere, så var det en måte for museet å "
"gir fordelen tilbake til publikum mens det var lukket? De begynte å tenke på "
"å dele Rijksmuseums samling med bruk av informasjonsteknologi. Og de satt "
"opp en kortkatalog som en database over hele samlingen på nettet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7751
msgid ""
"It was effective but a bit boring. It was just data. A hackathon they were "
"invited to got them to start talking about events like that as having "
"potential. They liked the idea of inviting people to do cool stuff with "
"their collection. What about giving online access to digital representations "
"of the one hundred most important pieces in the Rijksmuseum collection? That "
"eventually led to why not put the whole collection online?"
msgstr ""
"Det var effektivt men litt kjedelig. Det var bare data. En hacker-samling de "
"ble invitert til, fikk dem å begynne å snakke om hendelser som dette som om "
"det hadde potensiale. De likte ideen å invitere folk til å gjøre kule ting "
"med sin samling. Hva med å gi tilgang til digitale representasjoner av de "
"hundre viktigste gjenstandene i Rijksmuseums samlinger? Som til slutt førte "
"til at hvorfor ikke legge hele samlingen ut på nettet?"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7762
msgid "<ulink url=\"http://www.europeana.eu/portal/en\"/>"
msgstr "<ulink url=\"http://www.europeana.eu/portal/en\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7760
msgid ""
"Then, Lizzy says, Europeana came along. Europeana is Europe’s digital "
"library, museum, and archive for cultural heritage.<placeholder type="
"\"footnote\" id=\"0\"/> As an online portal to museum collections all across "
"Europe, Europeana had become an important online platform. In October 2010 "
"Creative Commons released CC0 and its public-domain mark as tools people "
"could use to identify works as free of known copyright. Europeana was the "
"first major adopter, using CC0 to release metadata about their collection "
"and the public domain mark for millions of digital works in their "
"collection. Lizzy says the Rijksmuseum initially found this change in "
"business practice a bit scary, but at the same time it stimulated even more "
"discussion on whether the Rijksmuseum should follow suit."
msgstr ""
"Deretter sier Lizzy, Europeana kom. Europeana er Europas digitale bibliotek, "
"museum og arkiv for kulturarv. <placeholder type=\"footnote\" id=\"0\"/> som "
"en nettportal til museumsamlinger over hele Europa, hadde Europeana blitt en "
"viktig nettplattform. I oktober 2010 utga Creative Commons CC0 og sitt "
"offentlig domene merke som verktøy folk kan bruke som gratis, fri for kjente "
"opphavsrettigheter. Europeana var den første store brukeren av CC0 for å gi "
"metadata om sin innsamling og det offentlige merke for millioner av digitale "
"verk i samlingen sin. Lizzy sier Rijksmuseum i utgangspunktet denne "
"endringen i praksis litt skummel, men samtidig stimulerte det til enda mer "
"diskusjon om hvorvidt Rijksmuseum skal følge etter."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7774
msgid ""
"They realized that they don’t “own” the collection and couldn’t "
"realistically monitor and enforce compliance with the restrictive licensing "
"terms they currently had in place. For example, many copies and versions of "
"Vermeer’s Milkmaid (part of their collection) were already online, many of "
"them of very poor quality. They could spend time and money policing its use, "
"but it would probably be futile and wouldn’t make people stop using their "
"images online. They ended up thinking it’s an utter waste of time to hunt "
"down people who use the Rijksmuseum collection. And anyway, restricting "
"access meant the people they were frustrating the most were schoolkids."
msgstr ""
"De forsto at de ikke \"eier\" samlingen og ikke realistisk kunne realistisk "
"overvåke og håndheve samsvar med de restriktive lisensvilkårene de for tiden "
"benyttet. For eksempel var mange kopier og versjoner av Vermeers Het "
"Melkmeisje (i sin samling) var allerede på nettet, mange av dem med svært "
"dårlig kvalitet. De kunne tilbringe tid og penger på å passe på bruken, men "
"det vil trolig være nytteløst og ville ikke få folk til å slutte å bruke "
"bildene deres på nettet. De endte opp med å tenke at det var fullstendig "
"bortkastet tid å jakte på mennesker som brukte Rijksmuseums samling. Og "
"uansett, å begrense tilgangen for folk var dem de irriterte mest skolebarn."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7787
msgid ""
"In 2011 the Rijksmuseum began making their digital photos of works known to "
"be free of copyright available online, using Creative Commons CC0 to place "
"works in the public domain. A medium-resolution image was offered for free, "
"but a high-resolution version cost forty euros. People started paying, but "
"Lizzy says getting the money was frequently a nightmare, especially from "
"overseas customers. The administrative costs often offset revenue, and "
"income above costs was relatively low. In addition, having to pay for an "
"image of a work in the public domain from a collection owned by the Dutch "
"government (i.e., paid for by the public) was contentious and frustrating "
"for some. Lizzy says they had lots of fierce debates about what to do."
msgstr ""
"I 2011 begynte Rijksmuseum å lage digitale bilder av verk kjent for å være "
"uten opphavsrettigheter tilgjengelig på nettet ved å bruke Creative Commons "
"CC0 til å plassere verkene i den offentlige sfæren. Et bilde med middels "
"oppløsning ble tilbudt gratis, mens en høyoppløsningsversjon kostet € 40. "
"Folk begynte å betale, men Lizzy sier at å inn pengene var et mareritt, "
"spesielt fra utenlandske kunder. De administrative kostnadene oppveide ofte "
"inntektene og inntekten etter kostnader var trukket fra var relativt lav. I "
"tillegg, å måtte betale for et bilde av et arbeid i det offentlige domenet "
"fra en samling eid av den nederlandske regjeringen (dvs, betalt av publikum) "
"var omstridt og frustrerende for noen. Lizzy sier de hadde mange heftige "
"debatter om hva de skulle gjøre."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7801
msgid ""
"In 2013 the Rijksmuseum changed its business model. They Creative Commons "
"licensed their highest-quality images and released them online for free. "
"Digitization still cost money, however; they decided to define discrete "
"digitization projects and find sponsors willing to fund each project. This "
"turned out to be a successful strategy, generating high interest from "
"sponsors and lower administrative effort for the Rijksmuseum. They started "
"out making 150,000 high-quality images of their collection available, with "
"the goal to eventually have the entire collection online."
msgstr ""
"I 2013 endret Rijksmuseum sin forretningsmodell. De ga Creative Commons "
"lisenser til sine bilder med høy kvalitet og la dem ut på nettet gratis. "
"Digitalisering koster fortsatt penger. Imidlertid bestemte de seg å avgrense "
"separate digitaliseringsprosjekter og finne sponsorer villig til å "
"finansiere hvert prosjekt. Dette viste seg for å være en vellykket strategi, "
"genererte stor interesse fra sponsorer og mindre administrativt arbeidefor "
"Rijksmuseum. De startet med å gjøre 150.000 høykvalitetsbilder fra samlingen "
"sin tilgjengelig, med det mål å få hele samlingen på nettet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7812
msgid ""
"Releasing these high-quality images for free reduced the number of poor-"
"quality images that were proliferating. The high-quality image of Vermeer’s "
"Milkmaid, for example, is downloaded two to three thousand times a month. On "
"the Internet, images from a source like the Rijksmuseum are more trusted, "
"and releasing them with a Creative Commons CC0 means they can easily be "
"found in other platforms. For example, Rijksmuseum images are now used in "
"thousands of Wikipedia articles, receiving ten to eleven million views per "
"month. This extends Rijksmuseum’s reach far beyond the scope of its website. "
"Sharing these images online creates what Lizzy calls the “Mona Lisa effect,” "
"where a work of art becomes so famous that people want to see it in real "
"life by visiting the actual museum."
msgstr ""
"Å legge ut disse høykvalitetsbildene gratis, reduserte den sterkt voksende "
"spredningen av bilder med dårlig kvalitet. For eksempel blir "
"høykvalitetsbildet av Vermeers Melkmeisje lastet ned til tre tusen ganger i "
"måneden. På Internett, blir bilder fra en kilde som Rijksmuseum sett på som "
"mer pålitelige og å benytte Creative Commons-CC0 betyr at de kan lett kan "
"finnes på andre plattformer. For eksempel brukes nå Rijksmuseums bilder i "
"tusenvis av Wikipedia-artikler, og får ti til elleve millioner sidevisninger "
"per måned. Dette utvider Rijksmuseums rekkevidde langt utover det som nås "
"fra deres egen egen hjemmeside. Deling av disse bildene på nettet lager det "
"Lizzy kaller \"Mona Lisa-effekten,\" hvor et kunstverk blir så kjent, at "
"folk ønsker å se det i det virkelige liv ved å besøke det aktuelle museet."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7827
msgid ""
"Every museum tends to be driven by the number of physical visitors. The "
"Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of "
"its operating budget from the government.  But like many museums, it must "
"generate the rest of the funding through other means. The admission fee has "
"long been a way to generate revenue generation, including for the "
"Rijksmuseum."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7835
msgid ""
"As museums create a digital presence for themselves and put up digital "
"representations of their collection online, there’s frequently a worry that "
"it will lead to a drop in actual physical visits. For the Rijksmuseum, this "
"has not turned out to be the case. Lizzy told us the Rijksmuseum used to get "
"about one million visitors a year before closing and now gets more than two "
"million a year. Making the collection available online has generated "
"publicity and acts as a form of marketing. The Creative Commons mark "
"encourages reuse as well. When the image is found on protest leaflets, milk "
"cartons, and children’s toys, people also see what museum the image comes "
"from and this increases the museum’s visibility."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7855
msgid "<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio\"/>"
msgstr "<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7849
msgid ""
"In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create "
"a new web presence that would be different from any other museum’s. In "
"addition to redesigning their main website to be mobile friendly and "
"responsive to devices like the iPad, the Rijksmuseum also created the "
"Rijksstudio, where users and artists could use and do various things with "
"the Rijksmuseum collection.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7858
msgid ""
"The Rijksstudio gives users access to over two hundred thousand high-quality "
"digital representations of masterworks from the collection. Users can zoom "
"in to any work and even clip small parts of images they like. Rijksstudio is "
"a bit like Pinterest.  You can “like” works and compile your personal "
"favorites, and you can share them with friends or download them free of "
"charge. All the images in the Rijksstudio are copyright and royalty free, "
"and users are encouraged to use them as they like, for private or even "
"commercial purposes."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7869
msgid ""
"Users have created over 276,000 Rijksstudios, generating their own themed "
"virtual exhibitions on a wide variety of topics ranging from tapestries to "
"ugly babies and birds. Sets of images have also been created for educational "
"purposes including use for school exams."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7876
msgid ""
"Some contemporary artists who have works in the Rijksmuseum collection "
"contacted them to ask why their works were not included in the Rijksstudio. "
"The answer was that contemporary artists’ works are still bound by "
"copyright. The Rijksmuseum does encourage contemporary artists to use a "
"Creative Commons license for their works, usually a CC BY-SA license "
"(Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they "
"want to preclude commercial use. That way, their works can be made available "
"to the public, but within limits the artists have specified."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7896
msgid ""
"<ulink url=\"http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-"
"kimono-kimono-robe\"/>"
msgstr ""
"<ulink url=\"http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-"
"kimono-kimono-robe\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7887
msgid ""
"The Rijksmuseum believes that art stimulates entrepreneurial activity. The "
"line between creative and commercial can be blurry.  As Lizzy says, even "
"Rembrandt was commercial, making his livelihood from selling his paintings. "
"The Rijksmuseum encourages entrepreneurial commercial use of the images in "
"Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy to "
"inspire people to sell their creations. One great example you can find on "
"Etsy is a kimono designed by Angie Johnson, who used an image of an "
"elaborate cabinet along with an oil painting by Jan Asselijn called The "
"Threatened Swan.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7900
msgid ""
"<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award\"/>; the 2014 "
"award: <ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award-2014\"/>; "
"the 2015 award: <ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-"
"award-2015\"/>"
msgstr ""
"<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award\"/>; 2014-"
"prisen: <ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award-2014\"/"
">; 2015-prisen: <ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-"
"award-2015\"/>"

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7912
msgid ""
"<ulink url=\"http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-"
"rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4\"/>"
msgstr ""
"<ulink url=\"http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-"
"rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7899
msgid ""
"In 2013 the Rijksmuseum organized their first high-profile design "
"competition, known as the Rijksstudio Award.<placeholder type=\"footnote\" "
"id=\"0\"/> With the call to action Make Your Own Masterpiece, the "
"competition invites the public to use Rijksstudio images to make new "
"creative designs. A jury of renowned designers and curators selects ten "
"finalists and three winners. The final award comes with a prize of €10,000. "
"The second edition in 2015 attracted a staggering 892 top-class entries. "
"Some award winners end up with their work sold through the Rijksmuseum "
"store, such as the 2014 entry featuring makeup based on a specific color "
"scheme of a work of art.<placeholder type=\"footnote\" id=\"1\"/> The "
"Rijksmuseum has been thrilled with the results.  Entries range from the fun "
"to the weird to the inspirational. The third international edition of the "
"Rijksstudio Award started in September 2016."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7918
msgid ""
"For the next iteration of the Rijksstudio, the Rijksmuseum is considering an "
"upload tool, for people to upload their own works of art, and enhanced "
"social elements so users can interact with each other more."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7924
msgid ""
"Going with a more open business model generated lots of publicity for the "
"Rijksmuseum. They were one of the first museums to open up their collection "
"(that is, give free access) with high-quality images. This strategy, along "
"with the many improvements to the Rijksmuseum’s website, dramatically "
"increased visits to their website from thirty-five thousand visits per month "
"to three hundred thousand."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7933
msgid ""
"The Rijksmuseum has been experimenting with other ways to invite the public "
"to look at and interact with their collection. On an international day "
"celebrating animals, they ran a successful bird-themed event. The museum put "
"together a showing of two thousand works that featured birds and invited "
"bird-watchers to identify the birds depicted. Lizzy notes that while museum "
"curators know a lot about the works in their collections, they may not know "
"about certain details in the paintings such as bird species. Over eight "
"hundred different birds were identified, including a specific species of "
"crane bird that was unknown to the scientific community at the time of the "
"painting."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7946
msgid ""
"For the Rijksmuseum, adopting an open business model was scary.  They came "
"up with many worst-case scenarios, imagining all kinds of awful things "
"people might do with the museum’s works. But Lizzy says those fears did not "
"come true because “ninety-nine percent of people have respect for great "
"art.” Many museums think they can make a lot of money by selling things "
"related to their collection.  But in Lizzy’s experience, museums are usually "
"bad at selling things, and sometimes efforts to generate a small amount of "
"money block something much bigger—the real value that the collection has. "
"For Lizzy, clinging to small amounts of revenue is being penny-wise but "
"pound-foolish. For the Rijksmuseum, a key lesson has been to never lose "
"sight of its vision for the collection.  Allowing access to and use of their "
"collection has generated great promotional value—far more than the previous "
"practice of charging fees for access and use. Lizzy sums up their "
"experience: “Give away; get something in return. Generosity makes people "
"happy to join you and help out.”"
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7966
msgid "Shareable"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7969
msgid ""
"Shareable is an online magazine about sharing. Founded in 2009 in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7973
msgid "<ulink url=\"http://www.shareable.net\"/>"
msgstr "<ulink url=\"http://www.shareable.net\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7975
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grant funding, "
"crowdfunding (project-based), donations, sponsorships"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7978
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 24, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 24. februar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7981
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Neal Gorenflo, cofounder "
"and executive editor"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7989
msgid ""
"In 2013, Shareable faced an impasse. The nonprofit online publication had "
"helped start a sharing movement four years prior, but over time, they "
"watched one part of the movement stray from its ideals. As giants like Uber "
"and Airbnb gained ground, attention began to center on the “sharing economy” "
"we know now—profit-driven, transactional, and loaded with venture-capital "
"money. Leaders of corporate start-ups in this domain invited Shareable to "
"advocate for them. The magazine faced a choice: ride the wave or stand on "
"principle."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8000
msgid ""
"As an organization, Shareable decided to draw a line in the sand.  In 2013, "
"the cofounder and executive editor Neal Gorenflo wrote an opinion piece in "
"the PandoDaily that charted Shareable’s new critical stance on the Silicon "
"Valley version of the sharing economy, while contrasting it with aspects of "
"the real sharing economy like open-source software, participatory budgeting "
"(where citizens decide how a public budget is spent), cooperatives, and "
"more. He wrote, “It’s not so much that collaborative consumption is dead, "
"it’s more that it risks dying as it gets absorbed by the ‘Borg.’”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8012
msgid ""
"Neal said their public critique of the corporate sharing economy defined "
"what Shareable was and is. He does not think the magazine would still be "
"around had they chosen differently. “We would have gotten another type of "
"audience, but it would have spelled the end of us,” he said. “We are a "
"small, mission-driven organization. We would never have been able to weather "
"the criticism that Airbnb and Uber are getting now.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8021
msgid ""
"Interestingly, impassioned supporters are only a small sliver of Shareable’s "
"total audience. Most are casual readers who come across a Shareable story "
"because it happens to align with a project or interest they have. But "
"choosing principles over the possibility of riding the coattails of the "
"major corporate players in the sharing space saved Shareable’s credibility. "
"Although they became detached from the corporate sharing economy, the online "
"magazine became the voice of the “real sharing economy” and continued to "
"grow their audience."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8032
msgid ""
"Shareable is a magazine, but the content they publish is a means to "
"furthering their role as a leader and catalyst of a movement.  Shareable "
"became a leader in the movement in 2009. “At that time, there was a sharing "
"movement bubbling beneath the surface, but no one was connecting the dots,” "
"Neal said. “We decided to step into that space and take on that role.” The "
"small team behind the nonprofit publication truly believed sharing could be "
"central to solving some of the major problems human beings face—resource "
"inequality, social isolation, and global warming."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8043
msgid ""
"They have worked hard to find ways to tell stories that show different "
"metrics for success. “We wanted to change the notion of what constitutes the "
"good life,” Neal said. While they started out with a very broad focus on "
"sharing generally, today they emphasize stories about the physical commons "
"like “sharing cities” (i.e., urban areas managed in a sustainable, "
"cooperative way), as well as digital platforms that are run democratically. "
"They particularly focus on how-to content that help their readers make "
"changes in their own lives and communities."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8054
msgid ""
"More than half of Shareable’s stories are written by paid journalists that "
"are contracted by the magazine. “Particularly in content areas that are a "
"priority for us, we really want to go deep and control the quality,” Neal "
"said. The rest of the content is either contributed by guest writers, often "
"for free, or written by other publications from their network of content "
"publishers.  Shareable is a member of the Post Growth Alliance, which "
"facilitates the sharing of content and audiences among a large and growing "
"group of mostly nonprofits. Each organization gets a chance to present "
"stories to the group, and the organizations can use and promote each other’s "
"stories. Much of the content created by the network is licensed with "
"Creative Commons."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8068
msgid ""
"All of Shareable’s original content is published under the Attribution "
"license (CC BY), meaning it can be used for any purpose as long as credit is "
"given to Shareable. Creative Commons licensing is aligned with Shareable’s "
"vision, mission, and identity. That alone explains the organization’s "
"embrace of the licenses for their content, but Neal also believes CC "
"licensing helps them increase their reach. “By using CC licensing,” he said, "
"“we realized we could reach far more people through a formal and informal "
"network of republishers or affiliates. That has definitely been the case. "
"It’s hard for us to measure the reach of other media properties, but most of "
"the outlets who republish our work have much bigger audiences than we do.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8082
msgid ""
"In addition to their regular news and commentary online, Shareable has also "
"experimented with book publishing. In 2012, they worked with a traditional "
"publisher to release Share or Die: Voices of the Get Lost Generation in an "
"Age of Crisis. The CC-licensed book was available in print form for purchase "
"or online for free. To this day, the book—along with their CC-licensed guide "
"Policies for Shareable Cities—are two of the biggest generators of traffic "
"on their website."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8092
msgid ""
"In 2016, Shareable self-published a book of curated Shareable stories called "
"How to: Share, Save Money and Have Fun. The book was available for sale, but "
"a PDF version of the book was available for free. Shareable plans to offer "
"the book in upcoming fund-raising campaigns."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8099
msgid ""
"This recent book is one of many fund-raising experiments Shareable has "
"conducted in recent years. Currently, Shareable is primarily funded by "
"grants from foundations, but they are actively moving toward a more "
"diversified model. They have organizational sponsors and are working to "
"expand their base of individual donors.  Ideally, they will eventually be a "
"hundred percent funded by their audience. Neal believes being fully "
"community-supported will better represent their vision of the world."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8109
msgid ""
"For Shareable, success is very much about their impact on the world. This is "
"true for Neal, but also for everyone who works for Shareable. “We attract "
"passionate people,” Neal said. At times, that means employees work so hard "
"they burn out. Neal tries to stress to the Shareable team that another part "
"of success is having fun and taking care of yourself while you do something "
"you love. “A central part of human beings is that we long to be on a great "
"adventure with people we love,” he said. “We are a species who look over the "
"horizon and imagine and create new worlds, but we also seek the comfort of "
"hearth and home.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8121
msgid ""
"In 2013, Shareable ran its first crowdfunding campaign to launch their "
"Sharing Cities Network. Neal said at first they were on pace to fail "
"spectacularly. They called in their advisers in a panic and asked for help. "
"The advice they received was simple—“Sit your ass in a chair and start "
"making calls.” That’s exactly what they did, and they ended up reaching "
"their $50,000 goal. Neal said the campaign helped them reach new people, but "
"the vast majority of backers were people in their existing base."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8131
msgid ""
"For Neal, this symbolized how so much of success comes down to "
"relationships. Over time, Shareable has invested time and energy into the "
"relationships they have forged with their readers and supporters. They have "
"also invested resources into building relationships between their readers "
"and supporters."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8138
msgid ""
"Shareable began hosting events in 2010. These events were designed to bring "
"the sharing community together. But over time they realized they could reach "
"far more people if they helped their readers to host their own events. “If "
"we wanted to go big on a conference, there was a huge risk and huge staffing "
"needs, plus only a fraction of our community could travel to the event,” "
"Neal said. Enabling others to create their own events around the globe "
"allowed them to scale up their work more effectively and reach far more "
"people. Shareable has catalyzed three hundred different events reaching over "
"twenty thousand people since implementing this strategy three years ago. "
"Going forward, Shareable is focusing the network on creating and "
"distributing content meant to spur local action. For instance, Shareable "
"will publish a new CC-licensed book in 2017 filled with ideas for their "
"network to implement."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8155
msgid ""
"Neal says Shareable stumbled upon this strategy, but it seems to perfectly "
"encapsulate just how the commons is supposed to work.  Rather than a one-"
"size-fits-all approach, Shareable puts the tools out there for people take "
"the ideas and adapt them to their own communities."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8163
msgid "Siyavula"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8166
msgid ""
"Siyavula is a for-profit educational-technology company that creates "
"textbooks and integrated learning experiences. Founded in 2012 in South "
"Africa."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8171
msgid "<ulink url=\"http://www.siyavula.com\"/>"
msgstr "<ulink url=\"http://www.siyavula.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8173
#, fuzzy
#| msgid "Revenue model: charging for custom services"
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services, sponsorships"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for tilpassede "
"tjenester, legatmidler"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8176
msgid "<emphasis role=\"strong\">Interview date</emphasis>: April 5, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8178
msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Mark Horner, CEO"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8185
msgid ""
"Openness is a key principle for Siyavula. They believe that every learner "
"and teacher should have access to high-quality educational resources, as "
"this forms the basis for long-term growth and development. Siyavula has been "
"a pioneer in creating high-quality open textbooks on mathematics and science "
"subjects for grades 4 to 12 in South Africa."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8193
msgid ""
"In terms of creating an open business model that involves Creative Commons, "
"Siyavula—and its founder, Mark Horner—have been around the block a few "
"times. Siyavula has significantly shifted directions and strategies to "
"survive and prosper. Mark says it’s been very organic."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8200
msgid ""
"It all started in 2002, when Mark and several other colleagues at the "
"University of Cape Town in South Africa founded the Free High School Science "
"Texts project. Most students in South Africa high schools didn’t have access "
"to high-quality, comprehensive science and math textbooks, so Mark and his "
"colleagues set out to write them and make them freely available."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8211
msgid "<ulink url=\"http://www.gnu.org/licenses/fdl\"/>"
msgstr "<ulink url=\"http://www.gnu.org/licenses/fdl\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8208
msgid ""
"As physicists, Mark and his colleagues were advocates of open-source "
"software. To make the books open and free, they adopted the Free Software "
"Foundation’s GNU Free Documentation License.<placeholder type=\"footnote\" "
"id=\"0\"/> They chose LaTeX, a typesetting program used to publish "
"scientific documents, to author the books. Over a period of five years, the "
"Free High School Science Texts project produced math and physical-science "
"textbooks for grades 10 to 12."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8217
msgid ""
"In 2007, the Shuttleworth Foundation offered funding support to make the "
"textbooks available for trial use at more schools.  Surveys before and after "
"the textbooks were adopted showed there were no substantial criticisms of "
"the textbooks’ pedagogical content. This pleased both the authors and "
"Shuttleworth; Mark remains incredibly proud of this accomplishment."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8225
msgid ""
"But the development of new textbooks froze at this stage. Mark shifted his "
"focus to rural schools, which didn’t have textbooks at all, and looked into "
"the printing and distribution options. A few sponsors came on board but not "
"enough to meet the need."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8235
msgid "<ulink url=\"http://www.capetowndeclaration.org\"/>"
msgstr "<ulink url=\"http://www.capetowndeclaration.org\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8231
msgid ""
"In 2007, Shuttleworth and the Open Society Institute convened a group of "
"open-education activists for a small but lively meeting in Cape Town. One "
"result was the Cape Town Open Education Declaration, a statement of "
"principles, strategies, and commitment to help the open-education movement "
"grow.<placeholder type=\"footnote\" id=\"0\"/> Shuttleworth also invited "
"Mark to run a project writing open content for all subjects for K–12 in "
"English. That project became Siyavula."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8240
msgid ""
"They wrote six original textbooks. A small publishing company offered "
"Shuttleworth the option to buy out the publisher’s existing K–9 content for "
"every subject in South African schools in both English and Afrikaans. A deal "
"was struck, and all the acquired content was licensed with Creative Commons, "
"significantly expanding the collection beyond the six original books."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8248
msgid ""
"Mark wanted to build out the remaining curricula collaboratively through "
"communities of practice—that is, with fellow educators and writers. Although "
"sharing is fundamental to teaching, there can be a few challenges when you "
"create educational resources collectively. One concern is legal. It is "
"standard practice in education to copy diagrams and snippets of text, but of "
"course this doesn’t always comply with copyright law. Another concern is "
"transparency. Sharing what you’ve authored means everyone can see it and "
"opens you up to criticism. To alleviate these concerns, Mark adopted a team-"
"based approach to authoring and insisted the curricula be based entirely on "
"resources with Creative Commons licenses, thereby ensuring they were safe to "
"share and free from legal repercussions."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8267
msgid "<ulink url=\"http://cnx.org\"/>"
msgstr "<ulink url=\"http://cnx.org\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8263
msgid ""
"Not only did Mark want the resources to be shareable, he wanted all teachers "
"to be able to remix and edit the content. Mark and his team had to come up "
"with an open editable format and provide tools for editing. They ended up "
"putting all the books they’d acquired and authored on a platform called "
"Connexions.<placeholder type=\"footnote\" id=\"0\"/> Siyavula trained many "
"teachers to use Connexions, but it proved to be too complex and the "
"textbooks were rarely edited."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8271
msgid ""
"Then the Shuttleworth Foundation decided to completely restructure its work "
"as a foundation into a fellowship model (for reasons completely unrelated to "
"Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as "
"an independent entity and took ownership over it as a Shuttleworth fellow."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8278
msgid ""
"Mark and his team experimented with several different strategies.  They "
"tried creating an authoring and hosting platform called Full Marks so that "
"teachers could share assessment items. They tried creating a service called "
"Open Press, where teachers could ask for open educational resources to be "
"aggregated into a package and printed for them. These services never really "
"panned out."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8286
msgid ""
"Then the South African government approached Siyavula with an interest in "
"printing out the original six Free High School Science Texts (math and "
"physical-science textbooks for grades 10 to 12)  for all high school "
"students in South Africa. Although at this point Siyavula was a bit "
"discouraged by open educational resources, they saw this as a big "
"opportunity."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8294
msgid ""
"They began to conceive of the six books as having massive marketing "
"potential for Siyavula. Printing Siyavula books for every kid in South "
"Africa would give their brand huge exposure and could drive vast amounts of "
"traffic to their website. In addition to print books, Siyavula could also "
"make the books available on their website, making it possible for learners "
"to access them using any device—computer, tablet, or mobile phone."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8303
msgid ""
"Mark and his team began imagining what they could develop beyond what was in "
"the textbooks as a service they charge for. One key thing you can’t do well "
"in a printed textbook is demonstrate solutions. Typically, a one-line answer "
"is given at the end of the book but nothing on the process for arriving at "
"that solution.  Mark and his team developed practice items and detailed "
"solutions, giving learners plenty of opportunity to test out what they’ve "
"learned. Furthermore, an algorithm could adapt these practice items to the "
"individual needs of each learner. They called this service Intelligent "
"Practice and embedded links to it in the open textbooks."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8316
msgid ""
"The costs for using Intelligent Practice were set very low, making it "
"accessible even to those with limited financial means. Siyavula was going "
"for large volumes and wide-scale use rather than an expensive product "
"targeting only the high end of the market."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8322
msgid ""
"The government distributed the books to 1.5 million students, but there was "
"an unexpected wrinkle: the books were delivered late.  Rather than wait, "
"schools who could afford it provided students with a different textbook. The "
"Siyavula books were eventually distributed, but with well-off schools mainly "
"using a different book, the primary market for Siyavula’s Intelligent "
"Practice service inadvertently became low-income learners."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8331
msgid ""
"Siyavula’s site did see a dramatic increase in traffic. They got five "
"hundred thousand visitors per month to their math site and the same number "
"to their science site. Two-fifths of the traffic was reading on a “feature "
"phone” (a nonsmartphone with no apps).  People on basic phones were reading "
"math and science on a two-inch screen at all hours of the day. To Mark, it "
"was quite amazing and spoke to a need they were servicing."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8340
msgid ""
"At first, the Intelligent Practice services could only be paid using a "
"credit card. This proved problematic, especially for those in the low-income "
"demographic, as credit cards were not prevalent.  Mark says Siyavula got a "
"harsh business-model lesson early on. As he describes it, it’s not just "
"about product, but how you sell it, who the market is, what the price is, "
"and what the barriers to entry are."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8349
msgid ""
"Mark describes this as the first version of Siyavula’s business model: open "
"textbooks serving as marketing material and driving traffic to your site, "
"where you can offer a related service and convert some people into a paid "
"customer."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8355
#, fuzzy
msgid ""
"For Mark a key decision for Siyavula’s business was to focus on how they can "
"add value on top of their basic service. They’ll charge only if they are "
"adding unique value. The actual content of the textbook isn’t unique at all, "
"so Siyavula sees no value in locking it down and charging for it. Mark "
"contrasts this with traditional publishers who charge over and over again "
"for the same content without adding value."
msgstr ""
"For Mark var en viktig beslutning for forretningsdriften til Siyavula å "
"fokusere på hvordan de la verdi på toppen av sin grunnleggende tjeneste.  De "
"tar betalt kun hvis de legger til unik verdi.  Selve innholdet i læreboken "
"er overhodet ikke unikt, så Siyavula ser ikke poenget med å låse det ned å "
"ta betalt for det.  Mark nevner at dette er svært forskjellig fra hvordan "
"tradisjonelle forleggere tar betalt om og om igjen for det samme innholdet "
"uten å legge noen til verdien av det."

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8364
msgid ""
"Version two of Siyavula’s business model was a big, ambitious idea—scale up. "
"They also decided to sell the Intelligent Practice service to schools "
"directly. Schools can subscribe on a per-student, per-subject basis. A "
"single subscription gives a learner access to a single subject, including "
"practice content from every grade available for that subject. Lower "
"subscription rates are provided when there are over two hundred students, "
"and big schools have a price cap. A 40 percent discount is offered to "
"schools where both the science and math departments subscribe."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8375
msgid ""
"Teachers get a dashboard that allows them to monitor the progress of an "
"entire class or view an individual learner’s results. They can see the "
"questions that learners are working on, identify areas of difficulty, and be "
"more strategic in their teaching. Students also have their own personalized "
"dashboard, where they can view the sections they’ve practiced, how many "
"points they’ve earned, and how their performance is improving."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8384
msgid ""
"Based on the success of this effort, Siyavula decided to substantially "
"increase the production of open educational resources so they could provide "
"the Intelligent Practice service for a wider range of books. Grades 10 to 12 "
"math and science books were reworked each year, and new books created for "
"grades 4 to 6 and later grades 7 to 9."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8395
msgid "<ulink url=\"http://www.siyavula.com/products-primary-school.html\"/>"
msgstr "<ulink url=\"http://www.siyavula.com/products-primary-school.html\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8392
msgid ""
"In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula "
"produced a series of natural sciences and technology workbooks for grades 4 "
"to 6 called Thunderbolt Kids that uses a fun comic-book style.<placeholder "
"type=\"footnote\" id=\"0\"/> It’s a complete curriculum that also comes with "
"teacher’s guides and other resources."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8399
msgid ""
"Through this experience, Siyavula learned they could get sponsors to help "
"fund openly licensed textbooks. It helped that Siyavula had by this time "
"nailed the production model. It cost roughly $150,000 to produce a book in "
"two languages. Sponsors liked the social-benefit aspect of textbooks "
"unlocked via a Creative Commons license. They also liked the exposure their "
"brand got. For roughly $150,000, their logo would be visible on books "
"distributed to over one million students."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8409
msgid ""
"The Siyavula books that are reviewed, approved, and branded by the "
"government are freely and openly available on Siyavula’s website under an "
"Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books "
"cannot be modified. Non-government-branded books are available under an "
"Attribution license (CC BY), allowing others to modify and redistribute the "
"books."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8417
msgid ""
"Although the South African government paid to print and distribute hard "
"copies of the books to schoolkids, Siyavula itself received no funding from "
"the government. Siyavula initially tried to convince the government to "
"provide them with five rand per book (about US35¢). With those funds, Mark "
"says that Siyavula could have run its entire operation, built a community-"
"based model for producing more books, and provide Intelligent Practice for "
"free to every child in the country. But after a lengthy negotiation, the "
"government said no."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8428
msgid ""
"Using Siyavula books generated huge savings for the government.  Providing "
"students with a traditionally published grade 12 science or math textbook "
"costs around 250 rand per book (about US$18).  Providing the Siyavula "
"version cost around 36 rand (about $2.60), a savings of over 200 rand per "
"book. But none of those savings were passed on to Siyavula. In retrospect, "
"Mark thinks this may have turned out in their favor as it allowed them to "
"remain independent from the government."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8438
msgid ""
"Just as Siyavula was planning to scale up the production of open textbooks "
"even more, the South African government changed its textbook policy. To save "
"costs, the government declared there would be only one authorized textbook "
"for each grade and each subject. There was no guarantee that Siyavula’s "
"would be chosen.  This scared away potential sponsors."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8446
msgid ""
"Rather than producing more textbooks, Siyavula focused on improving its "
"Intelligent Practice technology for its existing books. Mark calls this "
"version three of Siyavula’s business model—focusing on the technology that "
"provides the revenue-generating service and generating more users of this "
"service. Version three got a significant boost in 2014 with an investment by "
"the Omidyar Network (the philanthropic venture started by eBay founder "
"Pierre Omidyar and his spouse), and continues to be the model Siyavula uses "
"today."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8457
msgid ""
"Mark says sales are way up, and they are really nailing Intelligent "
"Practice. Schools continue to use their open textbooks. The government-"
"announced policy that there would be only one textbook per subject turned "
"out to be highly contentious and is in limbo."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8464
msgid ""
"Siyavula is exploring a range of enhancements to their business model. These "
"include charging a small amount for assessment services provided over the "
"phone, diversifying their market to all English-speaking countries in "
"Africa, and setting up a consortium that makes Intelligent Practice free to "
"all kids by selling the nonpersonal data Intelligent Practice collects."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8472
msgid ""
"Siyavula is a for-profit business but one with a social mission.  Their "
"shareholders’ agreement lists lots of requirements around openness for "
"Siyavula, including stipulations that content always be put under an open "
"license and that they can’t charge for something that people volunteered to "
"do for them. They believe each individual should have access to the "
"resources and support they need to achieve the education they deserve. "
"Having educational resources openly licensed with Creative Commons means "
"they can fulfill their social mission, on top of which they can build "
"revenue-generating services to sustain the ongoing operation of Siyavula. In "
"terms of open business models, Mark and Siyavula may have been around the "
"block a few times, but both he and the company are stronger for it."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8488
msgid "SparkFun"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8491
msgid ""
"SparkFun is an online electronics retailer specializing in open hardware. "
"Founded in 2003 in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8495
msgid "<ulink url=\"http://www.sparkfun.com\"/>"
msgstr "<ulink url=\"http://www.sparkfun.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8497
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies (electronics sales)"
msgstr ""
"<emphasis role=\"strong\">Inntektsmodell</emphasis>: Betaling for fysiske "
"kopier (elektroniske salg)"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8500
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 29, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 29. februar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8503
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Nathan Seidle, founder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Nathan Seidle, grunnlegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8511
msgid ""
"SparkFun founder and former CEO Nathan Seidle has a picture of himself "
"holding up a clone of a SparkFun product in an electronics market in China, "
"with a huge grin on his face. He was traveling in China when he came across "
"their LilyPad wearable technology being made by someone else. His reaction "
"was glee."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8518
msgid ""
"“Being copied is the greatest earmark of flattery and success,” Nathan said. "
"“I thought it was so cool that they were selling to a market we were never "
"going to get access to otherwise. It was evidence of our impact on the "
"world.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8524
msgid ""
"This worldview runs through everything SparkFun does. SparkFun is an "
"electronics manufacturer. The company sells its products directly to the "
"public online, and it bundles them with educational tools to sell to schools "
"and teachers. SparkFun applies Creative Commons licenses to all of its "
"schematics, images, tutorial content, and curricula, so anyone can make "
"their products on their own. Being copied is part of the design."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8533
msgid ""
"Nathan believes open licensing is good for the world. “It touches on our "
"natural human instinct to share,” he said. But he also strongly believes it "
"makes SparkFun better at what they do. They encourage copying, and their "
"products are copied at a very fast rate, often within ten to twelve weeks of "
"release. This forces the company to compete on something other than product "
"design, or what most commonly consider their intellectual property."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8542
msgid ""
"“We compete on business principles,” Nathan said. “Claiming your territory "
"with intellectual property allows you to get comfy and rest on your laurels. "
"It gives you a safety net. We took away that safety net.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8548
msgid ""
"The result is an intense company-wide focus on product development and "
"improvement. “Our products are so much better than they were five years "
"ago,” Nathan said. “We used to just sell products. Now it’s a product plus a "
"video, a seventeen-page hookup guide, and example firmware on three "
"different platforms to get you up and running faster. We have gotten better "
"because we had to in order to compete. As painful as it is for us, it’s "
"better for the customers.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8558
msgid ""
"SparkFun parts are available on eBay for lower prices. But people come "
"directly to SparkFun because SparkFun makes their lives easier. The example "
"code works; there is a service number to call; they ship replacement parts "
"the day they get a service call. They invest heavily in service and support. "
"“I don’t believe businesses should be competing with IP [intellectual "
"property] barriers,” Nathan said. “This is the stuff they should be "
"competing on.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8567
msgid ""
"SparkFun’s company history began in Nathan’s college dorm room. He spent a "
"lot of time experimenting with and building electronics, and he realized "
"there was a void in the market. “If you wanted to place an order for "
"something,” he said, “you first had to search far and wide to find it, and "
"then you had to call or fax someone.” In 2003, during his third year of "
"college, he registered <ulink url=\"http://sparkfun.com\"/> and started "
"reselling products out of his bedroom. After he graduated, he started making "
"and selling his own products."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8578
msgid ""
"Once he started designing his own products, he began putting the software "
"and schematics online to help with technical support.  After doing some "
"research on licensing options, he chose Creative Commons licenses because he "
"was drawn to the “human-readable deeds” that explain the licensing terms in "
"simple terms. SparkFun still uses CC licenses for all of the schematics and "
"firmware for the products they create."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8587
msgid ""
"The company has grown from a solo project to a corporation with 140 "
"employees. In 2015, SparkFun earned $33 million in revenue.  Selling "
"components and widgets to hobbyists, professionals, and artists remains a "
"major part of SparkFun’s business. They sell their own products, but they "
"also partner with Arduino (also profiled in this book) by manufacturing "
"boards for resale using Arduino’s brand."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8596
msgid ""
"SparkFun also has an educational department dedicated to creating a hands-on "
"curriculum to teach students about electronics using prototyping parts. "
"Because SparkFun has always been dedicated to enabling others to re-create "
"and fix their products on their own, the more recent focus on introducing "
"young people to technology is a natural extension of their core business."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8604
msgid ""
"“We have the burden and opportunity to educate the next generation of "
"technical citizens,” Nathan said. “Our goal is to affect the lives of three "
"hundred and fifty thousand high school students by 2020.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8610
msgid ""
"The Creative Commons license underlying all of SparkFun’s products is "
"central to this mission. The license not only signals a willingness to "
"share, but it also expresses a desire for others to get in and tinker with "
"their products, both to learn and to make their products better. SparkFun "
"uses the Attribution-ShareAlike license (CC BY-SA), which is a “copyleft” "
"license that allows people to do anything with the content as long as they "
"provide credit and make any adaptations available under the same licensing "
"terms."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8621
msgid ""
"From the beginning, Nathan has tried to create a work environment at "
"SparkFun that he himself would want to work in. The result is what appears "
"to be a pretty fun workplace. The U.S. company is based in Boulder, "
"Colorado. They have an eighty-thousand-square-foot facility (approximately "
"seventy-four-hundred square meters), where they design and manufacture their "
"products. They offer public tours of the space several times a week, and "
"they open their doors to the public for a competition once a year."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8632
msgid ""
"The public event, called the Autonomous Vehicle Competition, brings in a "
"thousand to two thousand customers and other technology enthusiasts from "
"around the area to race their own self-created bots against each other, "
"participate in training workshops, and socialize. From a business "
"perspective, Nathan says it’s a terrible idea. But they don’t hold the event "
"for business reasons. “The reason we do it is because I get to travel and "
"have interactions with our customers all the time, but most of our employees "
"don’t,” he said. “This event gives our employees the opportunity to get face-"
"to-face contact with our customers.” The event infuses their work with a "
"human element, which makes it more meaningful."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8646
msgid ""
"Nathan has worked hard to imbue a deeper meaning into the work SparkFun "
"does. The company is, of course, focused on being fiscally responsible, but "
"they are ultimately driven by something other than money. “Profit is not the "
"goal; it is the outcome of a well-executed plan,” Nathan said. “We focus on "
"having a bigger impact on the world.” Nathan believes they get some of the "
"brightest and most amazing employees because they aren’t singularly focused "
"on the bottom line."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8656
msgid ""
"The company is committed to transparency and shares all of its financials "
"with its employees. They also generally strive to avoid being another "
"soulless corporation. They actively try to reveal the humans behind the "
"company, and they work to ensure people coming to their site don’t find only "
"unchanging content."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8663
msgid ""
"SparkFun’s customer base is largely made up of industrious electronics "
"enthusiasts. They have customers who are regularly involved in the company’s "
"customer support, independently responding to questions in forums and "
"product-comment sections.  Customers also bring product ideas to the "
"company. SparkFun regularly sifts through suggestions from customers and "
"tries to build on them where they can. “From the beginning, we have been "
"listening to the community,” Nathan said. “Customers would identify a pain "
"point, and we would design something to address it.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8675
msgid ""
"However, this sort of customer engagement does not always translate to "
"people actively contributing to SparkFun’s projects.  The company has a "
"public repository of software code for each of its devices online. On a "
"particularly active project, there will only be about two dozen people "
"contributing significant improvements. The vast majority of projects are "
"relatively untouched by the public. “There is a theory that if you open-"
"source it, they will come,” Nathan said. “That’s not really true.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8686
msgid ""
"Rather than focusing on cocreation with their customers, SparkFun instead "
"focuses on enabling people to copy, tinker, and improve products on their "
"own. They heavily invest in tutorials and other material designed to help "
"people understand how the products work so they can fix and improve things "
"independently. “What gives me joy is when people take open-source layouts "
"and then build their own circuit boards from our designs,” Nathan said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8695
msgid ""
"Obviously, opening up the design of their products is a necessary step if "
"their goal is to empower the public. Nathan also firmly believes it makes "
"them more money because it requires them to focus on how to provide maximum "
"value. Rather than designing a new product and protecting it in order to "
"extract as much money as possible from it, they release the keys necessary "
"for others to build it themselves and then spend company time and resources "
"on innovation and service. From a short-term perspective, SparkFun may lose "
"a few dollars when others copy their products. But in the long run, it makes "
"them a more nimble, innovative business. In other words, it makes them the "
"kind of company they set out to be."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8709
msgid "TeachAIDS"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8712
msgid ""
"TeachAIDS is a nonprofit that creates educational materials designed to "
"teach people around the world about HIV and AIDS.  Founded in 2005 in the U."
"S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8717
msgid "<ulink url=\"http://teachaids.org\"/>"
msgstr "<ulink url=\"http://teachaids.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8719
msgid "<emphasis role=\"strong\">Revenue model</emphasis>: sponsorships"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8721
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 24, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8724
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Piya Sorcar, the CEO, and "
"Shuman Ghosemajumder, the chair"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8732
msgid ""
"TeachAIDS is an unconventional media company with a conventional revenue "
"model. Like most media companies, they are subsidized by advertising. "
"Corporations pay to have their logos appear on the educational materials "
"TeachAIDS distributes."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8738
msgid ""
"But unlike most media companies, Teach-AIDS is a nonprofit organization with "
"a purely social mission. TeachAIDS is dedicated to educating the global "
"population about HIV and AIDS, particularly in parts of the world where "
"education efforts have been historically unsuccessful. Their educational "
"content is conveyed through interactive software, using methods based on the "
"latest research about how people learn. TeachAIDS serves content in more "
"than eighty countries around the world. In each instance, the content is "
"translated to the local language and adjusted to conform to local norms and "
"customs. All content is free and made available under a Creative Commons "
"license."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8751
msgid ""
"TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a "
"salary of one dollar per year from the nonprofit. The project grew out of "
"research she was doing while pursuing her doctorate at Stanford University. "
"She was reading reports about India, noting it would be the next hot zone of "
"people living with HIV. Despite international and national entities pouring "
"in hundreds of millions of dollars on HIV-prevention efforts, the reports "
"showed knowledge levels were still low. People were unaware of whether the "
"virus could be transmitted through coughing and sneezing, for instance. "
"Supported by an interdisciplinary team of experts at Stanford, Piya "
"conducted similar studies, which corroborated the previous research. They "
"found that the primary cause of the limited understanding was that HIV, and "
"issues relating to it, were often considered too taboo to discuss "
"comprehensively. The other major problem was that most of the education on "
"this topic was being taught through television advertising, billboards, and "
"other mass-media campaigns, which meant people were only receiving bits and "
"pieces of information."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8771
msgid ""
"In late 2005, Piya and her team used research-based design to create new "
"educational materials and worked with local partners in India to help "
"distribute them. As soon as the animated software was posted online, Piya’s "
"team started receiving requests from individuals and governments who were "
"interested in bringing this model to more countries. “We realized fairly "
"quickly that educating large populations about a topic that was considered "
"taboo would be challenging. We began by identifying optimal local partners "
"and worked toward creating an effective, culturally appropriate education,” "
"Piya said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8783
msgid ""
"Very shortly after the initial release, Piya’s team decided to spin the "
"endeavor into an independent nonprofit out of Stanford University. They also "
"decided to use Creative Commons licenses on the materials."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8789
msgid ""
"Given their educational mission, TeachAIDS had an obvious interest in seeing "
"the materials as widely shared as possible. But they also needed to preserve "
"the integrity of the medical information in the content. They chose the "
"Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially "
"gives the public the right to distribute only verbatim copies of the "
"content, and for noncommercial purposes. “We wanted attribution for "
"TeachAIDS, and we couldn’t stand by derivatives without vetting them,” the "
"cofounder and chair Shuman Ghosemajumder said. “It was almost a no-brainer "
"to go with a CC license because it was a plug-and-play solution to this "
"exact problem. It has allowed us to scale our materials safely and quickly "
"worldwide while preserving our content and protecting us at the same time.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8804
msgid ""
"Choosing a license that does not allow adaptation of the content was an "
"outgrowth of the careful precision with which TeachAIDS crafts their "
"content. The organization invests heavily in research and testing to "
"determine the best method of conveying the information. “Creating high-"
"quality content is what matters most to us,” Piya said. “Research drives "
"everything we do.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8812
msgid ""
"One important finding was that people accept the message best when it comes "
"from familiar voices they trust and admire. To achieve this, TeachAIDS "
"researches cultural icons that would best resonate with their target "
"audiences and recruits them to donate their likenesses and voices for use in "
"the animated software. The celebrities involved vary for each localized "
"version of the materials."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8821
msgid ""
"Localization is probably the single-most important aspect of the way "
"TeachAIDS creates its content. While each regional version builds from the "
"same core scientific materials, they pour a lot of resources into "
"customizing the content for a particular population. Because they use a CC "
"license that does not allow the public to adapt the content, TeachAIDS "
"retains careful control over the localization process. The content is "
"translated into the local language, but there are also changes in substance "
"and format to reflect cultural differences. This process results in minor "
"changes, like choosing different idioms based on the local language, and "
"significant changes, like creating gendered versions for places where people "
"are more likely to accept information from someone of the same gender."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8836
msgid ""
"The localization process relies heavily on volunteers. Their volunteer base "
"is deeply committed to the cause, and the organization has had better luck "
"controlling the quality of the materials when they tap volunteers instead of "
"using paid translators. For quality control, TeachAIDS has three separate "
"volunteer teams translate the materials from English to the local language "
"and customize the content based on local customs and norms. Those three "
"versions are then analyzed and combined into a single master translation. "
"TeachAIDS has additional teams of volunteers then translate that version "
"back into English to see how well it lines up with the original materials. "
"They repeat this process until they reach a translated version that meets "
"their standards. For the Tibetan version, they went through this cycle "
"eleven times."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8852
msgid ""
"TeachAIDS employs full-time employees, contractors, and volunteers, all in "
"different capacities and organizational configurations. They are careful to "
"use people from diverse backgrounds to create the materials, including "
"teachers, students, and doctors, as well as individuals experienced in "
"working in the NGO space. This diversity and breadth of knowledge help "
"ensure their materials resonate with people from all walks of life.  "
"Additionally, TeachAIDS works closely with film writers and directors to "
"help keep the concepts entertaining and easy to understand. The inclusive, "
"but highly controlled, creative process is undertaken entirely by people who "
"are specifically brought on to help with a particular project, rather than "
"ongoing staff. The final product they create is designed to require zero "
"training for people to implement in practice. “In our research, we found we "
"can’t depend on people passing on the information correctly, even if they "
"have the best of intentions,” Piya said. “We need materials where you can "
"push play and they will work.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8871
msgid ""
"Piya’s team was able to produce all of these versions over several years "
"with a head count that never exceeded eight full-time employees. The "
"organization is able to reduce costs by relying heavily on volunteers and in-"
"kind donations. Nevertheless, the nonprofit needed a sustainable revenue "
"model to subsidize content creation and physical distribution of the "
"materials. Charging even a low price was simply not an option. “Educators "
"from various nonprofits around the world were just creating their own "
"materials using whatever they could find for free online,” Shuman said. “The "
"only way to persuade them to use our highly effective model was to make it "
"completely free.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8884
msgid ""
"Like many content creators offering their work for free, they settled on "
"advertising as a funding model. But they were extremely careful not to let "
"the advertising compromise their credibility or undermine the heavy "
"investment they put into creating quality content. Sponsors of the content "
"have no ability to influence the substance of the content, and they cannot "
"even create advertising content. Sponsors only get the right to have their "
"logo appear before and after the educational content. All of the content "
"remains branded as TeachAIDS."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8895
msgid ""
"TeachAIDS is careful not to seek funding to cover the costs of a specific "
"project. Instead, sponsorships are structured as unrestricted donations to "
"the nonprofit. This gives the nonprofit more stability, but even more "
"importantly, it enables them to subsidize projects being localized for an "
"area with no sponsors.  “If we just created versions based on where we could "
"get sponsorships, we would only have materials for wealthier countries,” "
"Shuman said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8905
msgid ""
"As of 2016, TeachAIDS has dozens of sponsors. “When we go into a new "
"country, various companies hear about us and reach out to us,” Piya said. "
"“We don’t have to do much to find or attract them.” They believe the "
"sponsorships are easy to sell because they offer so much value to sponsors. "
"TeachAIDS sponsorships give corporations the chance to reach new eyeballs "
"with their brand, but at a much lower cost than other advertising channels. "
"The audience for TeachAIDS content also tends to skew young, which is often "
"a desirable demographic for brands. Unlike traditional advertising, the "
"content is not time-sensitive, so an investment in a sponsorship can benefit "
"a brand for many years to come."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8918
msgid ""
"Importantly, the value to corporate sponsors goes beyond commercial "
"considerations. As a nonprofit with a clearly articulated social mission, "
"corporate sponsorships are donations to a cause. “This is something "
"companies can be proud of internally,” Shuman said. Some companies have even "
"built publicity campaigns around the fact that they have sponsored these "
"initiatives."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8927
msgid ""
"The core mission of TeachAIDS—ensuring global access to life-saving education"
"—is at the root of everything the organization does. It underpins the work; "
"it motivates the funders. The CC license on the materials they create "
"furthers that mission, allowing them to safely and quickly scale their "
"materials worldwide. “The Creative Commons license has been a game changer "
"for TeachAIDS,” Piya said."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8937
msgid "Tribe of Noise"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8940
msgid ""
"Tribe of Noise is a for-profit online music platform serving the film, TV, "
"video, gaming, and in-store-media industries. Founded in 2008 in the "
"Netherlands."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8945
msgid "<ulink url=\"http://www.tribeofnoise.com\"/>"
msgstr "<ulink url=\"http://www.tribeofnoise.com\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8950
msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 26, 2016"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 26. januar 2016"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8953
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Hessel van Oorschot, "
"cofounder"
msgstr ""
"<emphasis role=\"strong\">Intervjuet</emphasis>: Hessel van Oorschot, "
"medgrunnegger"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8961
msgid ""
"In the early 2000s, Hessel van Oorschot was an entrepreneur running a "
"business where he coached other midsize entrepreneurs how to create an "
"online business. He also coauthored a number of workbooks for small- to "
"medium-size enterprises to use to optimize their business for the Web. "
"Through this early work, Hessel became familiar with the principles of open "
"licensing, including the use of open-source software and Creative Commons."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8970
msgid ""
"In 2005, Hessel and Sandra Brandenburg launched a niche video-production "
"initiative. Almost immediately, they ran into issues around finding and "
"licensing music tracks. All they could find was standard, cold stock-music. "
"They thought of looking up websites where you could license music directly "
"from the musician without going through record labels or agents. But in "
"2005, the ability to directly license music from a rights holder was not "
"readily available."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8980
msgid ""
"They hired two lawyers to investigate further, and while they uncovered five "
"or six examples, Hessel found the business models lacking. The lawyers "
"expressed interest in being their legal team should they decide to pursue "
"this as an entrepreneurial opportunity. Hessel says, “When lawyers are "
"interested in a venture like this, you might have something special.” So "
"after some more research, in early 2008, Hessel and Sandra decided to build "
"a platform."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8990
msgid ""
"Building a platform posed a real chicken-and-egg problem. The platform had "
"to build an online community of music-rights holders and, at the same time, "
"provide the community with information and ideas about how the new economy "
"works. Community willingness to try new music business models requires a "
"trust relationship."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8997
msgid ""
"In July 2008, Tribe of Noise opened its virtual doors with a couple hundred "
"musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a "
"limited part of their repertoire.  The two entrepreneurs wanted to take the "
"pain away for media makers who wanted to license music and solve the "
"problems the two had personally experienced finding this music."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9012
msgid "<ulink url=\"http://www.instoremusicservice.com\"/>"
msgstr "<ulink url=\"http://www.instoremusicservice.com\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9005
msgid ""
"As they were growing the community, Hessel got a phone call from a company "
"that made in-store music playlists asking if they had enough music licensed "
"with Creative Commons that they could use.  Stores need quality, good-"
"listening music but not necessarily hits, a bit like a radio show without "
"the DJ. This opened a new opportunity for Tribe of Noise. They started their "
"In-store Music Service, using music (licensed with CC BY-SA) uploaded by the "
"Tribe of Noise community of musicians.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9015
msgid ""
"In most countries, artists, authors, and musicians join a collecting society "
"that manages the licensing and helps collect the royalties. Copyright "
"collecting societies in the European Union usually hold monopolies in their "
"respective national markets. In addition, they require their members to "
"transfer exclusive administration rights to them of all of their works.  "
"This complicates the picture for Tribe of Noise, who wants to represent "
"artists, or at least a portion of their repertoire.  Hessel and his legal "
"team reached out to collecting societies, starting with those in the "
"Netherlands. What would be the best legal way forward that would respect the "
"wishes of composers and musicians who’d be interested in trying out new "
"models like the In-store Music Service? Collecting societies at first were "
"hesitant and said no, but Tribe of Noise persisted arguing that they "
"primarily work with unknown artists and provide them exposure in parts of "
"the world where they don’t get airtime normally and a source of revenue—and "
"this convinced them that it was OK. However, Hessel says, “We are still "
"fighting for a good cause every single day.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9036
msgid ""
"Instead of building a large sales force, Tribe of Noise partnered with big "
"organizations who have lots of clients and can act as a kind of Tribe of "
"Noise reseller. The largest telecom network in the Netherlands, for example, "
"sells Tribe’s In-store Music Service subscriptions to their business "
"clients, which include fashion retailers and fitness centers. They have a "
"similar deal with the leading trade association representing hotels and "
"restaurants in the country. Hessel hopes to “copy and paste” this service "
"into other countries where collecting societies understand what you can do "
"with Creative Commons. Outside of the Netherlands, early adoptions have "
"happened in Scandinavia, Belgium, and the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9049
msgid ""
"Tribe of Noise doesn’t pay the musicians up front; they get paid when their "
"music ends up in Tribe of Noise’s in-store music channels. The musicians’ "
"share is 42.5 percent. It’s not uncommon in a traditional model for the "
"artist to get only 5 to 10 percent, so a share of over 40 percent is a "
"significantly better deal.  Here’s how they give an example on their website:"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9065
msgid "<ulink url=\"http://www.tribeofnoise.com/info_instoremusic.php\"/>"
msgstr "<ulink url=\"http://www.tribeofnoise.com/info_instoremusic.php\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9057
msgid ""
"A few of your songs [licensed with CC BY-SA], for example five in total, are "
"selected for a bespoke in-store music channel broadcasting at a large "
"retailer with 1,000 stores nationwide. In this case the overall playlist "
"contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee "
"agreed with this retailer is US$12 per month per play-out. So if 42.5% is "
"shared with the Tribe musicians in this playlist and your share is 1.43%, "
"you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per month."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9068
msgid ""
"Tribe of Noise has another model that does not involve Creative Commons. In "
"a survey with members, most said they liked the exposure using Creative "
"Commons gets them and the way it lets them reach out to others to share and "
"remix. However, they had a bit of a mental struggle with Creative Commons "
"licenses being perpetual.  A lot of musicians have the mind-set that one day "
"one of their songs may become an overnight hit. If that happened the CC BY-"
"SA license would preclude them getting rich off the sale of that song."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9079
msgid ""
"Hessel’s legal team took this feedback and created a second model and "
"separate area of the platform called Tribe of Noise Pro. Songs uploaded to "
"Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has "
"instead created a “nonexclusive exploitation” contract, similar to a "
"Creative Commons license but allowing musicians to opt out whenever they "
"want. When you opt out, Tribe of Noise agrees to take your music off the "
"Tribe of Noise platform within one to two months. This lets the musician "
"reuse their song for a better deal."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9090
msgid ""
"Tribe of Noise Pro is primarily geared toward media makers who are looking "
"for music. If they buy a license from this catalog, they don’t have to state "
"the name of the creator; they just license the song for a specific amount. "
"This is a big plus for media makers.  And musicians can pull their "
"repertoire at any time. Hessel sees this as a more direct and clean deal."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9098
msgid ""
"Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and "
"the community area of Tribe of Noises. There aren’t that many artists who "
"upload only to Tribe of Noise Pro, which has a smaller repertoire of music "
"than the community area."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9104
msgid ""
"Hessel sees the two as complementary. Both are needed for the model to work. "
"With a whole generation of musicians interested in the sharing economy, the "
"community area of Tribe of Noise is where they can build trust, create "
"exposure, and generate money. And after that, musicians may become more "
"interested in exploring other models like Tribe of Noise Pro."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9112
msgid ""
"Every musician who joins Tribe of Noise gets their own home page and free "
"unlimited Web space to upload as much of their own music as they like. Tribe "
"of Noise is also a social network; fellow musicians and professionals can "
"vote for, comment on, and like your music. Community managers interact with "
"and support members, and music supervisors pick and choose from the uploaded "
"songs for in-store play or to promote them to media producers. Members "
"really like having people working for the platform who truly engage with "
"them."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9123
msgid ""
"Another way Tribe of Noise creates community and interest is with contests, "
"which are organized in partnership with Tribe of Noise clients. The client "
"specifies what they want, and any member can submit a song. Contests usually "
"involve prizes, exposure, and money. In addition to building member "
"engagement, contests help members learn how to work with clients: listening "
"to them, understanding what they want, and creating a song to meet that need."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9133
msgid ""
"Tribe of Noise now has twenty-seven thousand members from 192 countries, and "
"many are exploring do-it-yourself models for generating revenue. Some came "
"from music labels and publishers, having gone through the traditional way of "
"music licensing and now seeing if this new model makes sense for them. "
"Others are young musicians, who grew up with a DIY mentality and see little "
"reason to sign with a third party or hand over some of the control. Still a "
"small but growing group of Tribe members are pursuing a hybrid model by "
"licensing some of their songs under CC BY-SA and opting in others with "
"collecting societies like ASCAP or BMI."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9145
msgid ""
"It’s not uncommon for performance-rights organizations, record labels, or "
"music publishers to sign contracts with musicians based on exclusivity. Such "
"an arrangement prevents those musicians from uploading their music to Tribe "
"of Noise. In the United States, you can have a collecting society handle "
"only some of your tracks, whereas in many countries in Europe, a collecting "
"society prefers to represent your entire repertoire (although the European "
"Commission is making some changes). Tribe of Noise deals with this issue all "
"the time and gives you a warning whenever you upload a song. If collecting "
"societies are willing to be open and flexible and do the most they can for "
"their members, then they can consider organizations like Tribe of Noise as a "
"nice add-on, generating more exposure and revenue for the musicians they "
"represent. So far, Tribe of Noise has been able to make all this work "
"without litigation."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9162
msgid ""
"For Hessel the key to Tribe of Noise’s success is trust. The fact that "
"Creative Commons licenses work the same way all over the world and have been "
"translated into all languages really helps build that trust. Tribe of Noise "
"believes in creating a model where they work together with musicians. They "
"can only do that if they have a live and kicking community, with people who "
"think that the Tribe of Noise team has their best interests in mind. "
"Creative Commons makes it possible to create a new business model for music, "
"a model that’s based on trust."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9174
msgid "Wikimedia Foundation"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9177
msgid ""
"The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia "
"and its sister projects. Founded in 2003 in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9182
msgid "<ulink url=\"http://wikimediafoundation.org\"/>"
msgstr "<ulink url=\"http://wikimediafoundation.org\"/>"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9184
msgid "<emphasis role=\"strong\">Revenue model</emphasis>: donations"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9186
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 18, 2015"
msgstr ""
"<emphasis role=\"strong\">Dato for intervju</emphasis>: 18 desember 2015"

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9189
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Luis Villa, former Chief "
"Officer of Community Engagement, and Stephen LaPorte, legal counsel"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9198
msgid "Nearly every person with an online presence knows Wikipedia."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9201
msgid ""
"In many ways, it is the preeminent open project: The online encyclopedia is "
"created entirely by volunteers. Anyone in the world can edit the articles. "
"All of the content is available for free to anyone online. All of the "
"content is released under a Creative Commons license that enables people to "
"reuse and adapt it for any purpose."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9209
msgid ""
"As of December 2016, there were more than forty-two million articles in the "
"295 language editions of the online encyclopedia, according to—what else?—"
"the Wikipedia article about Wikipedia."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9214
msgid ""
"The Wikimedia Foundation is a U.S.-based nonprofit organization that owns "
"the Wikipedia domain name and hosts the site, along with many other related "
"sites like Wikidata and Wikimedia Commons. The foundation employs about two "
"hundred and eighty people, who all work to support the projects it hosts. "
"But the true heart of Wikipedia and its sister projects is its community. "
"The numbers of people in the community are variable, but about seventy-five "
"thousand volunteers edit and improve Wikipedia articles every month. "
"Volunteers are organized in a variety of ways across the globe, including "
"formal Wikimedia chapters (mostly national), groups focused on a particular "
"theme, user groups, and many thousands who are not connected to a particular "
"organization."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9228
msgid ""
"As Wikimedia legal counsel Stephen LaPorte told us, “There is a common "
"saying that Wikipedia works in practice but not in theory.” While it "
"undoubtedly has its challenges and flaws, Wikipedia and its sister projects "
"are a striking testament to the power of human collaboration."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9235
msgid ""
"Because of its extraordinary breadth and scope, it does feel a bit like a "
"unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what "
"makes the projects successful—community, transparency, a strong mission, "
"trust—are consistent with what it takes to be successfully Made with "
"Creative Commons more generally. With Wikipedia, everything just happens at "
"an unprecedented scale."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9244
msgid ""
"The story of Wikipedia has been told many times. For our purposes, it is "
"enough to know the experiment started in 2001 at a small scale, inspired by "
"the crazy notion that perhaps a truly open, collaborative project could "
"create something meaningful. At this point, Wikipedia is so ubiquitous and "
"ingrained in our digital lives that the fact of its existence seems less "
"remarkable. But outside of software, Wikipedia is perhaps the single most "
"stunning example of successful community cocreation. Every day, seven "
"thousand new articles are created on Wikipedia, and nearly fifteen thousand "
"edits are made every hour."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9256
msgid ""
"The nature of the content the community creates is ideal for asynchronous "
"cocreation. “An encyclopedia is something where incremental community "
"improvement really works,” Luis Villa, former Chief Officer of Community "
"Engagement, told us. The rules and processes that govern cocreation on "
"Wikipedia and its sister projects are all community-driven and vary by "
"language edition.  There are entire books written on the intricacies of "
"their systems, but generally speaking, there are very few exceptions to the "
"rule that anyone can edit any article, even without an account on their "
"system. The extensive peer-review process includes elaborate systems to "
"resolve disputes, methods for managing particularly controversial subject "
"areas, talk pages explaining decisions, and much, much more. The Wikimedia "
"Foundation’s decision to leave governance of the projects to the community "
"is very deliberate. “We look at the things that the community can do well, "
"and we want to let them do those things,” Stephen told us.  Instead, the "
"foundation focuses its time and resources on what the community cannot do as "
"effectively, like the software engineering that supports the technical "
"infrastructure of the sites. In 2015-16, about half of the foundation’s "
"budget went to direct support for the Wikimedia sites."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9279
msgid ""
"Some of that is directed at servers and general IT support, but the "
"foundation also invests a significant amount on architecture designed to "
"help the site function as effectively as possible.  “There is a constantly "
"evolving system to keep the balance in place to avoid Wikipedia becoming the "
"world’s biggest graffiti wall,” Luis said. Depending on how you measure it, "
"somewhere between 90 to 98 percent of edits to Wikipedia are positive. Some "
"portion of that success is attributable to the tools Wikimedia has in place "
"to try to incentivize good actors. “The secret to having any healthy "
"community is bringing back the right people,” Luis said. “Vandals tend to "
"get bored and go away. That is partially our model working, and partially "
"just human nature.” Most of the time, people want to do the right thing."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9294
msgid ""
"Wikipedia not only relies on good behavior within its community and on its "
"sites, but also by everyone else once the content leaves Wikipedia. All of "
"the text of Wikipedia is available under an Attribution-ShareAlike license "
"(CC BY-SA), which means it can be used for any purpose and modified so long "
"as credit is given and anything new is shared back with the public under the "
"same license. In theory, that means anyone can copy the content and start a "
"new Wikipedia. But as Stephen explained, “Being open has only made Wikipedia "
"bigger and stronger. The desire to protect is not always what is best for "
"everyone.”"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9318
msgid ""
"<ulink url=\"http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-"
"mistakes/\"/>"
msgstr ""
"<ulink url=\"http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-"
"mistakes/\"/>"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9306
msgid ""
"Of course, the primary reason no one has successfully co-opted Wikipedia is "
"that copycat efforts do not have the Wikipedia community to sustain what "
"they do. Wikipedia is not simply a source of up-to-the-minute content on "
"every given topic—it is also a global patchwork of humans working together "
"in a million different ways, in a million different capacities, for a "
"million different reasons. While many have tried to guess what makes "
"Wikipedia work as well it does, the fact is there is no single explanation. "
"“In a movement as large as ours, there is an incredible diversity of "
"motivations,” Stephen said. For example, there is one editor of the English "
"Wikipedia edition who has corrected a single grammatical error in articles "
"more than forty-eight thousand times.<placeholder type=\"footnote\" id=\"0\"/"
"> Only a fraction of Wikipedia users are also editors.  But editing is not "
"the only way to contribute to Wikipedia. “Some donate text, some donate "
"images, some donate financially,” Stephen told us. “They are all "
"contributors.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9324
msgid ""
"But the vast majority of us who use Wikipedia are not contributors; we are "
"passive readers. The Wikimedia Foundation survives primarily on individual "
"donations, with about $15 as the average. Because Wikipedia is one of the "
"ten most popular websites in terms of total page views, donations from a "
"small portion of that audience can translate into a lot of money. In the "
"2015-16 fiscal year, they received more than $77 million from more than five "
"million donors."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9334
msgid ""
"The foundation has a fund-raising team that works year-round to raise money, "
"but the bulk of their revenue comes in during the December campaign in "
"Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United "
"States. They engage in extensive user testing and research to maximize the "
"reach of their fund-raising campaigns. Their basic fund-raising message is "
"simple: We provide our readers and the world immense value, so give back. "
"Every little bit helps. With enough eyeballs, they are right."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9345
msgid ""
"The vision of the Wikimedia Foundation is a world in which every single "
"human being can freely share in the sum of all knowledge.  They work to "
"realize this vision by empowering people around the globe to create "
"educational content made freely available under an open license or in the "
"public domain. Stephen and Luis said the mission, which is rooted in the "
"same philosophy behind Creative Commons, drives everything the foundation "
"does."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9354
msgid ""
"The philosophy behind the endeavor also enables the foundation to be "
"financially sustainable. It instills trust in their readership, which is "
"critical for a revenue strategy that relies on reader donations. It also "
"instills trust in their community."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9360
msgid ""
"Any given edit on Wikipedia could be motivated by nearly an infinite number "
"of reasons. But the social mission of the project is what binds the global "
"community together. “Wikipedia is an example of how a mission can motivate "
"an entire movement,” Stephen told us."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9367
msgid ""
"Of course, what results from that movement is one of the Internet’s great "
"public resources. “The Internet has a lot of businesses and stores, but it "
"is missing the digital equivalent of parks and open public spaces,” Stephen "
"said. “Wikipedia has found a way to be that open public space.”"
msgstr ""

#. type: Content of: <book><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9376
msgid "Bibliography"
msgstr "Bibliografi"

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9378
msgid ""
"Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next American "
"Revolution; Democratizing Wealth and Building a Community-Sustaining Economy "
"from the Ground Up. White River Junction, VT: Chelsea Green, 2013."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9384
msgid ""
"Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface. New York: Hyperion, 2010."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9389
msgid "———. Makers: The New Industrial Revolution. New York: Signal, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9392
msgid ""
"Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our "
"Decisions. Rev. ed. New York: Harper Perennial, 2010."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9396
msgid ""
"Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O’Reilly Media, "
"2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9400
msgid ""
"Benkler, Yochai. The Wealth of Networks: How Social Production Transforms "
"Markets and Freedom. New Haven: Yale University Press, 2006.  <ulink url="
"\"http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf\"/> (licensed under "
"CC BY-NC-SA)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9407
msgid ""
"Benyayer, Louis-David, ed. Open Models: Business Models of the Open Economy. "
"Cachan, France: Without Model, 2016.  <ulink url=\"http://www.slideshare.net/"
"WithoutModel/open-models-book-64463892\"/> (licensed under CC BY-SA)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9413
msgid ""
"Bollier, David. Commoning as a Transformative Social Paradigm. Paper "
"commissioned by the Next Systems Project. Washington, DC: Democracy "
"Collaborative, 2016.  <ulink url=\"http://thenextsystem.org/commoning-as-a-"
"transformative-social-paradigm/\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9419
msgid ""
"———. Think Like a Commoner: A Short Introduction to the Life of the Commons. "
"Gabriola Island, BC: New Society, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9423
msgid ""
"Bollier, David, and Pat Conaty. Democratic Money and Capital for the "
"Commons: Strategies for Transforming Neoliberal Finance through Commons-"
"Based Alternatives. A report on a Commons Strategies Group Workshop in "
"cooperation with the Heinrich Böll Foundation, Berlin, Germany, 2015.  "
"<ulink url=\"http://bollier.org/democratic-money-and-capital-commons-report-"
"pdf\"/>.  For more information, see <ulink url=\"http://bollier.org/blog/"
"democratic-money-and-capital-commons\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9433
msgid ""
"Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons: A World "
"Beyond Market and State. Amherst, MA: Levellers Press, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9437
msgid ""
"Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of "
"Collaborative Consumption. New York: Harper Business, 2010."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9441
msgid ""
"Boyle, James. The Public Domain: Enclosing the Commons of the Mind.  New "
"Haven: Yale University Press, 2008."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9444
msgid ""
"<ulink url=\"http://www.thepublicdomain.org/download/\"/> (licensed under CC "
"BY-NC-SA)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9448
msgid ""
"Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal System in "
"Tune with Nature and Community. Oakland, CA: Berrett-Koehler, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9453
msgid ""
"Chesbrough, Henry. Open Business Models: How to Thrive in the New Innovation "
"Landscape. Boston: Harvard Business School Press, 2006."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9457
msgid ""
"———. Open Innovation: The New Imperative for Creating and Profiting from "
"Technology. Boston: Harvard Business Review Press, 2006."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9461
msgid ""
"City of Bologna. Regulation on Collaboration between Citizens and the City "
"for the Care and Regeneration of Urban Commons. Translated by LabGov "
"(LABoratory for the GOVernance of Commons). Bologna, Italy: City of Bologna, "
"2014).  <ulink url=\"http://www.labgov.it/wp-content/uploads/sites/9/Bologna-"
"Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-"
"regeneration-of-urban-commons1.pdf\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9468
msgid ""
"Cole, Daniel H. “Learning from Lin: Lessons and Cautions from the Natural "
"Commons for the Knowledge Commons.” Chap. 2 in Frischmann, Madison, and "
"Strandburg, Governing Knowledge Commons."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9473
msgid ""
"Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative "
"Commons, 2015.  <ulink url=\"http://stateof.creativecommons.org/2015/\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9478
msgid ""
"Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet "
"Age. San Francisco: McSweeney’s, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9482
msgid ""
"Eckhardt, Giana, and Fleura Bardhi. “The Sharing Economy Isn’t about Sharing "
"at All.” Harvard Business Review, January 28, 2015.  <ulink url=\"http://hbr."
"org/2015/01/the-sharing-economy-isnt-about-sharing-at-all\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9487
msgid ""
"Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge: "
"Confronting the Commodification of Human Discovery.  Regina, SK: University "
"of Regina Press, 2015.  uofrpress.ca/publications/Free-Knowledge (licensed "
"under CC BY-NC-ND)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9494
msgid ""
"Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan Hoover. "
"New York: Portfolio, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9498
msgid ""
"Farley, Joshua, and Ida Kubiszewski. “The Economics of Information in a Post-"
"Carbon Economy.” Chap. 11 in Elliott and Hepting, Free Knowledge."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9503
msgid ""
"Foster, William Landes, Peter Kim, and Barbara Christiansen. “Ten Nonprofit "
"Funding Models.” Stanford Social Innovation Review, Spring 2009.  <ulink url="
"\"http://ssir.org/articles/entry/ten_nonprofit_funding_models\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9509
msgid ""
"Frischmann, Brett M. Infrastructure: The Social Value of Shared Resources. "
"New York: Oxford University Press, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9513
msgid ""
"Frischmann, Brett M., Michael J. Madison, and Katherine J.  Strandburg, eds. "
"Governing Knowledge Commons. New York: Oxford University Press, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9518
msgid ""
"Frischmann, Brett M., Michael J. Madison, and Katherine J.  Strandburg. "
"“Governing Knowledge Commons.” Chap. 1 in Frischmann, Madison, and "
"Strandburg, Governing Knowledge Commons."
msgstr ""
"Frischmann, Brett M., Michael J. Madison, og Katherine J.  Strandburg. "
"“Governing Knowledge Commons.” Chap. 1 in Frischmann, Madison, og "
"Strandburg, Governing Knowledge Commons."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9523
msgid ""
"Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing.  Reprint with "
"new epilogue. New York: Portfolio, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9527
msgid ""
"Grant, Adam. Give and Take: Why Helping Others Drives Our Success.  New "
"York: Viking, 2013."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9531
msgid ""
"Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons. New York: Zed Books, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9535
msgid ""
"Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the "
"Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9540
msgid ""
"Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto: "
"Doubleday Canada, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9544
msgid ""
"Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York: "
"Farrar, Straus and Giroux, 2010."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9548
msgid ""
"———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage "
"Books edition. New York: Vintage Books, 2007."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9552
msgid ""
"Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential "
"within Us All. New York: Crown, 2013."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9556
msgid ""
"Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution; "
"Journeys to a Generative Economy. San Francisco:"
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9560
msgid "Berrett-Koehler, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9563
msgid ""
"Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get "
"Discovered. New York: Workman, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9567
msgid ""
"———. Steal Like an Artist: 10 Things Nobody Told You about Being Creative. "
"New York: Workman, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9571
msgid ""
"Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New "
"York: Morgan James, 2016."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9575
msgid ""
"Lee, David. “Inside Medium: An Attempt to Bring Civility to the Internet.” "
"BBC News, March 3, 2016.  <ulink url=\"http://www.bbc.com/news/"
"technology-35709680\"/>"
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9580
msgid ""
"Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid "
"Economy. New York: Penguin Press, 2008."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9584
msgid ""
"Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and "
"Manifesto. Gabriola Island, BC: New Society, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9588
msgid ""
"Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus "
"and Giroux, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9592
msgid ""
"New York Times Customer Insight Group. The Psychology of Sharing: Why Do "
"People Share Online? New York: New York Times Customer Insight Group, 2011.  "
"<ulink url=\"http://www.iab.net/media/file/POSWhitePaper.pdf\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9598
msgid ""
"Osterwalder, Alex, and Yves Pigneur. Business Model Generation.  Hoboken, "
"NJ: John Wiley and Sons, 2010. A preview of the book is available at <ulink "
"url=\"http://strategyzer.com/books/business-model-generation\"/>."
msgstr ""
"Osterwalder, Alex, og Yves Pigneur. Business Model Generation.  Hoboken, NJ: "
"John Wiley and Sons, 2010. En forhåndsvisning av boken er tilgjengelig fra "
"<ulink url=\"http://strategyzer.com/books/business-model-generation\"/>."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9604
msgid ""
"Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value "
"Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the "
"book is available at <ulink url=\"http://strategyzer.com/books/value-"
"proposition-design\"/>."
msgstr ""
"Osterwalder, Alex, Yves Pigneur, Greg Bernarda, og Adam Smith.  Value "
"Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. En "
"forhåndsvisning av denne boken er tilgjengelig fra <ulink url=\"http://"
"strategyzer.com/books/value-proposition-design\"/>."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9610
msgid ""
"Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help. New York: Grand Central, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9614
msgid ""
"Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make "
"Available Their Highest Quality Material without Restrictions, and What Are "
"the Results? The Hague, Netherlands: Europeana Foundation, 2014.  <ulink url="
"\"http://pro.europeana.eu/publication/democratising-the-rijksmuseum\"/> "
"(licensed under CC BY-SA)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9622
msgid ""
"Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne, "
"Australia: Commons Transition Coalition, 2016.  <ulink url=\"http://www."
"academia.edu/27143172/The_City_as_Commons_a_Policy_Reader\"/> (licensed "
"under CC BY-NC-ND)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9628
msgid ""
"Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open "
"Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly "
"Media, 2001. See esp. “The Magic Cauldron.” <ulink url=\"http://www.catb.org/"
"esr/writings/cathedral-bazaar/\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9634
msgid ""
"Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous "
"Innovation to Create Radically Successful Businesses. New York: Crown "
"Business, 2011."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9639
msgid ""
"Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the "
"Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave "
"Macmillan, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9644
msgid ""
"Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9648
msgid ""
"Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the "
"Enemy of Prosperity. New York: Portfolio, 2016."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9652
msgid ""
"Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New "
"York: Farrar, Straus and Giroux, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9656
msgid ""
"Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into "
"Collaborators. London, England: Penguin Books, 2010."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9660
msgid ""
"Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR "
"Books, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9664
msgid ""
"Stephany, Alex. The Business of Sharing: Making in the New Sharing Economy. "
"New York: Palgrave Macmillan, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9668
msgid ""
"Stepper, John. Working Out Loud: For a Better Career and Life. New York: "
"Ikigai Press, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9672
msgid ""
"Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a "
"Complex World. Boston: Houghton Mifflin Harcourt, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9676
msgid ""
"Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise "
"of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9680
msgid "Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9684
msgid ""
"Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology "
"Behind Bitcoin Is Changing Money, Business, and the World. Toronto: "
"Portfolio, 2016."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9689
msgid ""
"Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark "
"Reiter. New York: Simon and Schuster, 2006."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9693
msgid ""
"Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago: "
"University of Chicago Press, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9697
msgid ""
"Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds.  Open "
"Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers, "
"with Creative Commons Netherlands; Premsela, the Netherlands Institute for "
"Design and Fashion; and the Waag Society, 2011. <ulink url=\"http://"
"opendesignnow.org\"/> (licensed under CC BY-NC-SA)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9705
msgid ""
"Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society "
"3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.  <ulink url="
"\"http://society30.com/get-the-book/\"/> (licensed under CC BY-NC-ND)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9711
msgid ""
"Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.  <ulink "
"url=\"http://web.mit.edu/evhippel/www/democ1.htm\"/> (licensed under CC BY-"
"NC-ND)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9716
msgid ""
"Whitehurst, Jim. The Open Organization: Igniting Passion and Performance. "
"Boston: Harvard Business Review Press, 2015."
msgstr ""

#. type: Content of: <book><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9721
msgid "Acknowledgments"
msgstr "Takk til"

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9723
msgid ""
"We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative "
"Commons Board, and all of our Creative Commons colleagues for "
"enthusiastically supporting our work. Special gratitude to the William and "
"Flora Hewlett Foundation for the initial seed funding that got us started on "
"this project."
msgstr ""
"Vi vil spesielt takke daglig leder for Creative Commons Ryan Merkley, styret "
"for Creative Commons, og alle våre kolleger for deres entusiastiske støtte "
"til vårt arbeid. En spesiell takk til William and Flora Hewlett Foundation "
"for startstøtten som fikk oss i gang med prosjektet."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9730
msgid ""
"Huge appreciation to all the Made with Creative Commons interviewees for "
"sharing their stories with us. You make the commons come alive.  Thanks for "
"the inspiration."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9735
msgid ""
"We interviewed more than the twenty-four organizations profiled in this "
"book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium "
"for sharing their stories with us. While not featured as case studies in "
"this book, you all are equally interesting, and we encourage our readers to "
"visit your sites and explore your work."
msgstr ""
"Vi intervjuet  flere enn de tjuefire organisasjoner som er omtalt i denne "
"boken.  Vi sender spesielt takk til Gooru, OERu, Sage Bionetworks, og Medium "
"for å ha delt sine historier med oss.  Selv om de ikke er med i "
"referansestudiene i denne boken, så er hver og en av dere like interessante, "
"og vi vil oppmuntre våre lesere til å besøke nettstedene deres og utforske "
"det de har gjort."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9743
msgid ""
"This book was made possible by the generous support of 1,687 Kickstarter "
"backers listed below. We especially acknowledge our many Kickstarter co-"
"editors who read early drafts of our work and provided invaluable feedback. "
"Heartfelt thanks to all of you."
msgstr ""
"Denne boken ble mulig takket være den generøse støtten til de 1 687 "
"Kickstarter-støttespillerne som er listet opp under.  Vi vil spesielt takke "
"våre mange med-redaktører som leste tidlige utkast av verket vårt og ga "
"uvurderlige tilbakemeldinger.  Ektefølt takk til dere alle."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9749
msgid ""
"Co-editor Kickstarter backers (alphabetically by first name): Abraham "
"Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton, "
"Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd "
"Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock, "
"Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper, "
"Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle, "
"Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative "
"Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado, "
"Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David "
"Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi "
"Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder, "
"Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix "
"Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin "
"Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis "
"Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan, "
"Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie "
"Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M "
"Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme "
"Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty, "
"Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John "
"Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos "
"Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie "
"Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen, "
"Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos "
"Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi "
"Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley, "
"MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black, "
"Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem "
"Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike "
"Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall "
"McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman, "
"Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter, "
"Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny "
"Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv "
"Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones, "
"Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle, "
"Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott "
"Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio, "
"Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun, "
"Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent, "
"Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue, "
"Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh, "
"William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque, "
"Yancey Strickler"
msgstr ""
"Medredaktør-støttespillere fra Kickstarter (alfabetisk på fornavn): Abraham "
"Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton, "
"Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd "
"Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock, "
"Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper, "
"Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle, "
"Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative "
"Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado, "
"Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David "
"Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi "
"Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder, "
"Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix "
"Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin "
"Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis "
"Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan, "
"Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie "
"Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M "
"Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme "
"Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty, "
"Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John "
"Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos "
"Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie "
"Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen, "
"Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos "
"Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi "
"Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley, "
"MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black, "
"Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem "
"Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike "
"Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall "
"McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman, "
"Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter, "
"Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny "
"Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv "
"Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones, "
"Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle, "
"Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott "
"Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio, "
"Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun, "
"Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent, "
"Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue, "
"Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh, "
"William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque, "
"Yancey Strickler."

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9800
msgid ""
"All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron "
"C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham "
"Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter, "
"Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman, "
"Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain "
"Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert "
"O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex "
"Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown, "
"Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar, "
"Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre "
"Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro, "
"Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison "
"Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan "
"Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith, "
"Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare, "
"Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André "
"Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen, "
"Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas "
"Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew "
"Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew "
"Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy "
"Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott, "
"Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton "
"Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21 "
"publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz, "
"Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon, "
"Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin "
"Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel "
"Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton, "
"Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben "
"Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini, "
"Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir, "
"Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth "
"Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill "
"Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker, "
"Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo "
"Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak, "
"Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford "
"Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka "
"Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel, "
"Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian "
"S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke "
"Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan "
"Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun "
"Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron "
"Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook, "
"Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu, "
"Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long, "
"Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff, "
"Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford, "
"Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile, "
"@ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler, "
"Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt, "
"Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano, "
"Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh, "
"Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote "
"(Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris "
"Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber, "
"Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger, "
"Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum, "
"Christian Wachter, Christina Bennett, Christine Henry, Christine Rico, "
"Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris, "
"Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof, "
"Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio "
"Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint "
"Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin "
"Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie "
"Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory "
"Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney, "
"Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini, "
"Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei, "
"Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana "
"Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez, "
"Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado, "
"Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein, "
"Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario "
"Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova, "
"Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave "
"Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David "
"Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam, "
"David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David "
"Mcconville, David Mikula, David Nelson, David Orban, David Parry, David "
"Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah "
"Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek "
"Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane K. "
"Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La Cruz, "
"Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun, Dirk "
"Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz, Dom "
"Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique Karadjian, "
"Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick, Doug Hoover, "
"Douglas Craver, Douglas Van Camp, Douglas Van Houweling, Dr. Braddlee, Drew "
"Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C Humphries, Eamon "
"Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo Belinchon, Eduardo "
"Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal, Elad Wieder, Elar "
"Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie Calhoun, Elizabeth "
"Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli Verhulst, Elroy "
"Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique Mandujano R., Eric "
"Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric Hellman, Eric "
"Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard, Erika Reid, "
"Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan Bousse, Erwin "
"Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan Tangman, Evonne "
"Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton Software, Felix "
"Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix Schmidt, Felix "
"Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe Rodrigues, "
"Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer, Florent "
"Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot Games, "
"Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois Grey, "
"François Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric "
"Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel Staples, "
"Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath, Gary "
"Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de "
"Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George "
"Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman, "
"Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco, "
"Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives "
"Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman, "
"Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg "
"Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn, "
"Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho "
"Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T "
"Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de "
"Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry "
"Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen "
"Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach "
"Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser, "
"Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne, "
"Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian "
"Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider, "
"Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah "
"Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek "
"Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla, "
"Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach, "
"James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James "
"Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol, "
"Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park, "
"Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason E. "
"Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy Bear "
"Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe "
"Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff De Cagna, Jeff "
"Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff Rasalla, Jeff Ski "
"Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen Garcia, Jens Erat, "
"Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell, Jeremy Sabo, Jeremy "
"Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret, Jessica Dickinson "
"Goodman, Jessica Litman, Jessica Mackay, Jessy Kate Schingler, Jesús Longás "
"Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim O’Flaherty, Jim Pellegrini, "
"Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo Allum, Joachim Brandon LeBlanc, "
"Joachim Pileborg, Joachim von Goetz, Joakim Bang Larsen, Joan Rieu, Joanna "
"Penn, João Almeida, Jochen Muetsch, Jodi Sandfort, Joe Cardillo, Joe "
"Carpita, Joe Moross, Joerg Fricke, Johan Adda, Johan Meeusen, Johannes "
"Förstner, Johannes Visintini, John Benfield, John Bevan, John C Patterson, "
"John Crumrine, John Dimatos, John Feyler, John Huntsman, John Manoogian III, "
"John Muller, John Ober, John Paul Blodgett, John Pearce, John Shale, John "
"Sharp, John Simpson, John Sumser, John Weeks, John Wilbanks, John Worland, "
"Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon Andersen, Jon Cohrs, Jon "
"Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith, Jonas Öberg, Jonas "
"Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan Holst, Jonathan Lin, "
"Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg Schwarz, Jose Antonio "
"Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph Sullivan, Joseph "
"Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP Rangaswami, Juan Carlos "
"Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo Marin Diaz, Judith "
"Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter, Julia Devonshire, "
"Julian Fietkau, Julie Harboe, Julien Brossoit, Julien Leroy, Juliet Chen, "
"Julio Terra, Julius Mikkelä, Justin Christian, Justin Grimes, Justin Jones, "
"Justin Szlasa, Justin Walsh, JustinChung.com, K. J.  Przybylski, Kaloyan "
"Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant, Kara Monroe, Karen Pe, "
"Karl Jahn, Karl Jonsson, Karl Nelson, Kasia Zygmuntowicz, Kat Lim, Kate "
"Chapman, Kate Stewart, Kathleen Beck, Kathleen Hanrahan, Kathryn Abuzzahab, "
"Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie Lynn Daniels, Katie Meek, "
"Katie Teague, Katrina Hennessy, Katriona Main, Kavan Antani, Keith Adams, "
"Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis Larsen, "
"Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry Hicks, Kevin "
"Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin Shannon, Kevin Taylor, "
"Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane l’Azin, Kianosh Pourian, Kiran "
"Kadekoppa, Kit Walsh, Klaus Mickus, Konrad Rennert, Kris Kasianovitz, "
"Kristian Lundquist, Kristin Buxton, Kristina Popova, Kristofer Bratt, "
"Kristoffer Steen, Kumar McMillan, Kurt Whittemore, Kyle Pinches, Kyle "
"Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry Garfield, Larry Singer, "
"Lars Josephsen, Lars Klaeboe, Laura Anne Brown, Laura Billings, Laura "
"Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent Muchacho, Laurie "
"Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro Pangilinan, Leigh "
"Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini, leonardo menegola, "
"Lesley Mitchell, Leslie Krumholz, Leticia Britos Cavagnaro, Levi Bostian, "
"Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir Marques, Lior Mazliah, Lisa "
"Bjerke, Lisa Brewster, Lisa Canning, Lisa Cronin, Lisa Di Valentino, "
"Lisandro Gaertner, Livia Leskovec, Liynn Worldlaw, Liz Berg, Liz White, "
"Logan Cox, Loki Carbis, Lora Lynn, Lorna Prescott, Lou Yufan, Louie "
"Amphlett, Louis-David Benyayer, Louise Denman, Luca Corsato, Luca Lesinigo, "
"Luca Palli, Luca Pianigiani, Luca S.G. de Marinis, Lucas Lopez, Lukas "
"Mathis, Luke Chamberlin, Luke Chesser, Luke Woodbury, Lulu Tang, Lydia "
"Pintscher, M Alexander Jurkat, Maarten Sander, Macie J Klosowski, Magnus "
"Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh, Maik Schmalstich, Maiken "
"Håvarstein, Maira Sutton, Mairi Thomson, Mandy Wultsch, Manickkavasakam "
"Rajasekar, Marc Bogonovich, Marc Harpster, Marc Martí, Marc Olivier Bastien, "
"Marc Stober, Marc-André Martin, Marcel de Leeuwe, Marcel Hill, Marcia "
"Hofmann, Marcin Olender, Marco Massarotto, Marco Montanari, Marco Morales, "
"Marcos Medionegro, Marcus Bitzl, Marcus Norrgren, Margaret Gary, Mari "
"Moreshead, Maria Liberman, Marielle Hsu, Marino Hernandez, Mario Lurig, "
"Mario R. Hemsley, MD, Marissa Demers, Mark Chandler, Mark Cohen, Mark De "
"Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky, Mark Kupfer, Mark "
"Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark Murphy, Mark Perot, "
"Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark Waks, Mark Zuccarell "
"II, Markus Deimann, Markus Jaritz, Markus Luethi, Marshal Miller, Marshall "
"Warner, Martijn Arets, Martin Beaudoin, Martin Decky, Martin DeMello, Martin "
"Humpolec, Martin Mayr, Martin Peck, Martin Sanchez, Martino Loco, Martti "
"Remmelgas, Martyn Eggleton, Martyn Lewis, Mary Ellen Davis, Mary Heacock, "
"Mary Hess, Mary Mi, Masahiro Takagi, Mason Du, Massimo V.A. Manzari, Mathias "
"Bavay, Mathias Nicolajsen Kjærgaard, Matias Kruk, Matija Nalis, Matt Alcock, "
"Matt Black, Matt Broach, Matt Hall, Matt Haughey, Matt Lee, Matt Plec, Matt "
"Skoss, Matt Thompson, Matt Vance, Matt Wagstaff, Matteo Cocco, Matthew "
"Bendert, Matthew Bergholt, Matthew Darlison, Matthew Epler, Matthew Hawken, "
"Matthew Heimbecker, Matthew Orstad, Matthew Peterworth, Matthew Sheehy, "
"Matthew Tucker, Adaptive Handy Apps, LLC, Mattias Axell, Max Green, Max "
"Kossatz, Max lupo, Max Temkin, Max van Balgooy, Médéric Droz-dit-Busset, "
"Megan Ingle, Megan Wacha, Meghan Finlayson, Melissa Aho, Melissa Sterry, "
"Melle Funambuline, Menachem Goldstein, Micah Bridges, Michael Ailberto, "
"Michael Anderson, Michael Andersson Skane, Michael C. Stewart, Michael "
"Carroll, Michael Cavette, Michael Crees, Michael David Johas Teener, Michael "
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"Michael Lewis, Michael May, Michael Murphy, Michael Murvine, Michael "
"Perkins, Michael Sauers, Michael St.Onge, Michael Stanford, Michael Stanley, "
"Michael Underwood, Michael Weiss, Michael Wright, Michael-Andreas Kuttner, "
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"Zappa, Michelle Heeyeon You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike "
"Chelen, Mike Habicher, Mike Maloney, Mike Masnick, Mike McDaniel, Mike "
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"Wittenstein, Mikkel Ovesen, Mikołaj Podlaszewski, Millie Gonzalez, Mindi "
"Lovell, Mindy Lin, Mirko “Macro” Fichtner, Mitch Featherston, Mitchell "
"Adams, Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, "
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"Pilgrim, Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee "
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"Miller, Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele "
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"Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev, "
"Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah "
"Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum, "
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"Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López "
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"Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat "
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"Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick "
"McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik "
"Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey, "
"Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul "
"Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström "
"Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry "
"Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins, "
"Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter "
"O’Brien, Peter Pinch, Peter S.  Crosby, Peter Wells, Petr Fristedt, Petr "
"Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip "
"Pangrac, Philip R.  Skaggs Jr., Philip Young, Philippa Lorne Channer, "
"Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels, "
"Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill, "
"Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer, "
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"Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar, "
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"McCue, Richard “TalkToMeGuy” Olson, Richard Best, Richard Blumberg, Richard "
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"Richard Sobey, Richard White, Richard Winchell, Rik ToeWater, Rita Lewis, "
"Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley, Rob Bertholf, Rob "
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"Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey, Stephen Pearce, "
"Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson, Steve Battle, "
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"Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart Maxwell, Stuart Reich, "
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"Green, Sylvia van Bruggen, Szabolcs Berecz, T. L. Mason, Tanbir Baeg, Tanya "
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"Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian Sun, Yves "
"Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua de Haan, "
"ZeMarmot Open Movie"
msgstr ""
"Alle de som støttet via Kickstarter (alfabetisk etter fornavn): A. Lee, "
"Aaron C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham "
"Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter, "
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"Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain "
"Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert "
"O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex "
"Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown, "
"Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar, "
"Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre "
"Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro, "
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"Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas "
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"Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew "
"Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy "
"Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott, "
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"publishing, April Johnson, Aria F. Chernik, Ariane Allan, Ariel Katz, "
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"Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook, "
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"Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff, "
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"(Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris "
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"Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei, "
"Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana "
"Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez, "
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"Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David "
"Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam, "
"David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David "
"Mcconville, David Mikula, David Nelson, David Orban, David Parry, David "
"Spira, David T. Kindler, David Varnes, David Wiley, David Wormley, Deborah "
"Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek "
"Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane K. "
"Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La Cruz, "
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"Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique Karadjian, "
"Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick, Doug Hoover, "
"Douglas Craver, Douglas Van Camp, Douglas Van Houweling, Dr.  Braddlee, Drew "
"Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C Humphries, Eamon "
"Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo Belinchon, Eduardo "
"Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal, Elad Wieder, Elar "
"Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie Calhoun, Elizabeth "
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"Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique Mandujano R., Eric "
"Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric Hellman, Eric "
"Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard, Erika Reid, "
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"Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan Tangman, Evonne "
"Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton Software, Felix "
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"Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe Rodrigues, "
"Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer, Florent "
"Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot Games, "
"Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois Grey, "
"François Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric "
"Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel Staples, "
"Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath, Gary "
"Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de "
"Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George "
"Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman, "
"Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco, "
"Giovanna Sala, Glen Moffat, Glenn D.  Jones, Glenn Otis Brown, Global Lives "
"Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman, "
"Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg "
"Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn, "
"Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho "
"Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T "
"Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de "
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"Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek "
"Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla, "
"Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach, "
"James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James "
"Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol, "
"Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park, "
"Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason E. "
"Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy Bear "
"Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe "
"Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff De Cagna, Jeff "
"Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff Rasalla, Jeff Ski "
"Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen Garcia, Jens Erat, "
"Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell, Jeremy Sabo, Jeremy "
"Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret, Jessica Dickinson "
"Goodman, Jessica Litman, Jessica Mackay, Jessy Kate Schingler, Jesús Longás "
"Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim O’Flaherty, Jim Pellegrini, "
"Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo Allum, Joachim Brandon LeBlanc, "
"Joachim Pileborg, Joachim von Goetz, Joakim Bang Larsen, Joan Rieu, Joanna "
"Penn, João Almeida, Jochen Muetsch, Jodi Sandfort, Joe Cardillo, Joe "
"Carpita, Joe Moross, Joerg Fricke, Johan Adda, Johan Meeusen, Johannes "
"Förstner, Johannes Visintini, John Benfield, John Bevan, John C Patterson, "
"John Crumrine, John Dimatos, John Feyler, John Huntsman, John Manoogian III, "
"John Muller, John Ober, John Paul Blodgett, John Pearce, John Shale, John "
"Sharp, John Simpson, John Sumser, John Weeks, John Wilbanks, John Worland, "
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"Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith, Jonas Öberg, Jonas "
"Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan Holst, Jonathan Lin, "
"Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg Schwarz, Jose Antonio "
"Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph Sullivan, Joseph "
"Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP Rangaswami, Juan Carlos "
"Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo Marin Diaz, Judith "
"Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter, Julia Devonshire, "
"Julian Fietkau, Julie Harboe, Julien Brossoit, Julien Leroy, Juliet Chen, "
"Julio Terra, Julius Mikkelä, Justin Christian, Justin Grimes, Justin Jones, "
"Justin Szlasa, Justin Walsh, JustinChung.com, K. J. Przybylski, Kaloyan "
"Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant, Kara Monroe, Karen Pe, "
"Karl Jahn, Karl Jonsson, Karl Nelson, Kasia Zygmuntowicz, Kat Lim, Kate "
"Chapman, Kate Stewart, Kathleen Beck, Kathleen Hanrahan, Kathryn Abuzzahab, "
"Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie Lynn Daniels, Katie Meek, "
"Katie Teague, Katrina Hennessy, Katriona Main, Kavan Antani, Keith Adams, "
"Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis Larsen, "
"Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry Hicks, Kevin "
"Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin Shannon, Kevin Taylor, "
"Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane l’Azin, Kianosh Pourian, Kiran "
"Kadekoppa, Kit Walsh, Klaus Mickus, Konrad Rennert, Kris Kasianovitz, "
"Kristian Lundquist, Kristin Buxton, Kristina Popova, Kristofer Bratt, "
"Kristoffer Steen, Kumar McMillan, Kurt Whittemore, Kyle Pinches, Kyle "
"Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry Garfield, Larry Singer, "
"Lars Josephsen, Lars Klaeboe, Laura Anne Brown, Laura Billings, Laura "
"Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent Muchacho, Laurie "
"Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro Pangilinan, Leigh "
"Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini, leonardo menegola, "
"Lesley Mitchell, Leslie Krumholz, Leticia Britos Cavagnaro, Levi Bostian, "
"Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir Marques, Lior Mazliah, Lisa "
"Bjerke, Lisa Brewster, Lisa Canning, Lisa Cronin, Lisa Di Valentino, "
"Lisandro Gaertner, Livia Leskovec, Liynn Worldlaw, Liz Berg, Liz White, "
"Logan Cox, Loki Carbis, Lora Lynn, Lorna Prescott, Lou Yufan, Louie "
"Amphlett, Louis-David Benyayer, Louise Denman, Luca Corsato, Luca Lesinigo, "
"Luca Palli, Luca Pianigiani, Luca S.G. de Marinis, Lucas Lopez, Lukas "
"Mathis, Luke Chamberlin, Luke Chesser, Luke Woodbury, Lulu Tang, Lydia "
"Pintscher, M Alexander Jurkat, Maarten Sander, Macie J Klosowski, Magnus "
"Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh, Maik Schmalstich, Maiken "
"Håvarstein, Maira Sutton, Mairi Thomson, Mandy Wultsch, Manickkavasakam "
"Rajasekar, Marc Bogonovich, Marc Harpster, Marc Martí, Marc Olivier Bastien, "
"Marc Stober, Marc-André Martin, Marcel de Leeuwe, Marcel Hill, Marcia "
"Hofmann, Marcin Olender, Marco Massarotto, Marco Montanari, Marco Morales, "
"Marcos Medionegro, Marcus Bitzl, Marcus Norrgren, Margaret Gary, Mari "
"Moreshead, Maria Liberman, Marielle Hsu, Marino Hernandez, Mario Lurig, "
"Mario R. Hemsley, MD, Marissa Demers, Mark Chandler, Mark Cohen, Mark De "
"Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky, Mark Kupfer, Mark "
"Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark Murphy, Mark Perot, "
"Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark Waks, Mark Zuccarell "
"II, Markus Deimann, Markus Jaritz, Markus Luethi, Marshal Miller, Marshall "
"Warner, Martijn Arets, Martin Beaudoin, Martin Decky, Martin DeMello, Martin "
"Humpolec, Martin Mayr, Martin Peck, Martin Sanchez, Martino Loco, Martti "
"Remmelgas, Martyn Eggleton, Martyn Lewis, Mary Ellen Davis, Mary Heacock, "
"Mary Hess, Mary Mi, Masahiro Takagi, Mason Du, Massimo V.A. Manzari, Mathias "
"Bavay, Mathias Nicolajsen Kjærgaard, Matias Kruk, Matija Nalis, Matt Alcock, "
"Matt Black, Matt Broach, Matt Hall, Matt Haughey, Matt Lee, Matt Plec, Matt "
"Skoss, Matt Thompson, Matt Vance, Matt Wagstaff, Matteo Cocco, Matthew "
"Bendert, Matthew Bergholt, Matthew Darlison, Matthew Epler, Matthew Hawken, "
"Matthew Heimbecker, Matthew Orstad, Matthew Peterworth, Matthew Sheehy, "
"Matthew Tucker, Adaptive Handy Apps, LLC, Mattias Axell, Max Green, Max "
"Kossatz, Max lupo, Max Temkin, Max van Balgooy, Médéric Droz-dit-Busset, "
"Megan Ingle, Megan Wacha, Meghan Finlayson, Melissa Aho, Melissa Sterry, "
"Melle Funambuline, Menachem Goldstein, Micah Bridges, Michael Ailberto, "
"Michael Anderson, Michael Andersson Skane, Michael C. Stewart, Michael "
"Carroll, Michael Cavette, Michael Crees, Michael David Johas Teener, Michael "
"Dennis Moore, Michael Freundt Karlsen, Michael Harries, Michael Hawel, "
"Michael Lewis, Michael May, Michael Murphy, Michael Murvine, Michael "
"Perkins, Michael Sauers, Michael St.Onge, Michael Stanford, Michael Stanley, "
"Michael Underwood, Michael Weiss, Michael Wright, Michael-Andreas Kuttner, "
"Michaela Voigt, Michal Rosenn, Michał Szymański, Michel Gallez, Michell "
"Zappa, Michelle Heeyeon You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike "
"Chelen, Mike Habicher, Mike Maloney, Mike Masnick, Mike McDaniel, Mike "
"Pouraryan, Mike Sheldon, Mike Stop Continues, Mike Stringer, Mike "
"Wittenstein, Mikkel Ovesen, Mikołaj Podlaszewski, Millie Gonzalez, Mindi "
"Lovell, Mindy Lin, Mirko “Macro” Fichtner, Mitch Featherston, Mitchell "
"Adams, Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, "
"Moritz Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk "
"Pilgrim, Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee "
"Yang, Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan "
"Miller, Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele "
"Wollert, Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas "
"Bentley, Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick "
"Coghlan, Nick Isaacs, Nick M.  Daly, Nick Vance, Nickolay Vedernikov, Nicky "
"Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek "
"Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev, "
"Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah "
"Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum, "
"Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar "
"Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López "
"Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter, "
"Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat "
"Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf, "
"Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M.  Lozeau, Patrick "
"McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik "
"Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey, "
"Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul "
"Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström "
"Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry "
"Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins, "
"Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter "
"O’Brien, Peter Pinch, Peter S.  Crosby, Peter Wells, Petr Fristedt, Petr "
"Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip "
"Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer, "
"Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels, "
"Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill, "
"Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer, "
"Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani, "
"Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël "
"Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar, "
"Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich "
"McCue, Richard “TalkToMeGuy” Olson, Richard Best, Richard Blumberg, Richard "
"Fannon, Richard Heying, Richard Karnesky, Richard Kelly, Richard Littauer, "
"Richard Sobey, Richard White, Richard Winchell, Rik ToeWater, Rita Lewis, "
"Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley, Rob Bertholf, Rob "
"Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob Utter, Rob Vincent, "
"Robert Gaffney, Robert Jones, Robert Kelly, Robert Lawlis, Robert McDonald, "
"Robert Orzanna, Robert Paterson Hunter, Robert R. Daniel Jr., Robert Ryan-"
"Silva, Robert Thompson, Robert Wagoner, Roberto Selvaggio, Robin DeRosa, "
"Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon, Roger Saner, Roger So, "
"Roger Solé, Roger Tregear, Roland Tanglao, Rolf and Mari von Walthausen, "
"Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald Bissell, Ronald van den "
"Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay, Ross Pruden, Ross "
"Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert Hitzenberger, Rusi "
"Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute Correia, Ruth Ann "
"Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan Price, Ryan Sasaki, "
"Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin Kenaid, Salomon "
"Riedo, Sam Hokin, Sam Twidale, Samantha Levin, Samantha-Jayne Chapman, "
"Samarth Agarwal, Sami Al-AbdRabbuh, Samuel A. Rebelsky, Samuel Goëta, Samuel "
"Hauser, Samuel Landete, Samuel Oliveira Cersosimo, Samuel Tait, Sandra "
"Fauconnier, Sandra Markus, Sandy Bjar, Sandy ONeil, Sang-Phil Ju, Sanjay "
"Basu, Santiago Garcia, Sara Armstrong, Sara Lucca, Sara Rodriguez Marin, "
"Sarah Brand, Sarah Cove, Sarah Curran, Sarah Gold, Sarah McGovern, Sarah "
"Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha VanHoven, Saul Gasca, Scott "
"Abbott, Scott Akerman, Scott Beattie, Scott Bruinooge, Scott Conroy, Scott "
"Gillespie, Scott Williams, Sean Anderson, Sean Johnson, Sean Lim, Sean "
"Wickett, Seb Schmoller, Sebastiaan Bekker, Sebastiaan ter Burg, Sebastian "
"Makowiecki, Sebastian Meyer, Sebastian Schweizer, Sebastian Sigloch, "
"Sebastien Huchet, Seokwon Yang, Sergey Chernyshev, Sergey Storchay, Sergio "
"Cardoso, Seth Drebitko, Seth Gover, Seth Lepore, Shannon Turner, Sharon "
"Clapp, Shauna Redmond, Shawn Gaston, Shawn Martin, Shay Knohl, Shelby "
"Hatfield, Sheldon (Vila) Widuch, Sheona Thomson, Si Jie, Sicco van Sas, "
"Siena Oristaglio, Simon Glover, Simon John King, Simon Klose, Simon Law, "
"Simon Linder, Simon Moffitt, Solomon Kahn, Solomon Simon, Soujanna Sarkar, "
"Stanislav Trifonov, Stefan Dumont, Stefan Jansson, Stefan Langer, Stefan "
"Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan Meißl, Stéphane "
"Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey, Stephen Pearce, "
"Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson, Steve Battle, "
"Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve Ingram, Steve Kroy, "
"Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven Knudsen, Steven Melvin, "
"Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart Maxwell, Stuart Reich, "
"Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun, Susan R Grossman, Suzie "
"Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle, Sylvain Chery, Sylvia "
"Green, Sylvia van Bruggen, Szabolcs Berecz, T. L. Mason, Tanbir Baeg, Tanya "
"Hart, Tara Tiger Brown, Tara Westover, Tarmo Toikkanen, Tasha Turner "
"Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan, Teresa Gonczy, Terry "
"Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo, Thibault Badenas, "
"Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas Chang, Thomas Hartman, "
"Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds, Thomas Thrush, Thomas "
"Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim Chambers, Tim Cook, Tim "
"Evers, Tim Nichols, Tim Stahmer, Timothée Planté, Timothy Arfsten, Timothy "
"Hinchliff, Timothy Vollmer, Tina Coffman, Tisza Gergő, Tobias Schonwetter, "
"Todd Brown, Todd Pousley, Todd Sattersten, Tom Bamford, Tom Caswell, Tom "
"Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom Merkli, Tom Merritt, Tom "
"Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti, Tommy Dahlen, Tony Ciak, "
"Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin, Tracey Henton, Tracey "
"James, Traci Long DeForge, Trent Yarwood, Trevor Hogue, Trey Blalock, Trey "
"Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy, Tyler Occhiogrosso, Udo "
"Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum, Vaughan jenkins, Veethika "
"Mishra, Vic King, Vickie Goode, Victor DePina, Victor Grigas, Victoria "
"Klassen, Victorien Elvinger, VIGA Manufacture, Vikas Shah, Vinayak S."
"Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia Gentilini, Virginia "
"Kopelman, Vitor Menezes, Vivian Marthell, Wayne Mackintosh, Wendy Keenan, "
"Werner Wiethege, Wesley Derbyshire, Widar Hellwig, Willa Köerner, William "
"Bettridge-Radford, William Jefferson, William Marshall, William Peter Nash, "
"William Ray, William Robins, Willow Rosenberg, Winie Evers, Wolfgang "
"Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier Moisant, Xueqi Li, "
"Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian Sun, Yves "
"Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis og Joshua de Haan, "
"ZeMarmot Open Movie."

#~ msgid "Made With Creative Commons"
#~ msgstr "Laget med Creative Commons"

#, fuzzy
#~ msgid "Enterprise engagements"
#~ msgstr "Enterprise engagements"

#~ msgid "Different views on resources"
#~ msgstr "Forskjellige syn på ressurser"

#~ msgid "Long ago"
#~ msgstr "For lenge siden"

#~ msgid "State takeover of the commons"
#~ msgstr "Statlig overtagelse av allmenningen"

#~ msgid "Today"
#~ msgstr "I dag"